Writer's Block: Lowering Standards?

Today's thoughts on writing arose from Sandra Tsing Loh's review of Battle Hymn of the Tiger Mother (Amy Chua, Penguin) (about which I may write a completely separate blog post) in the April 2011 Atlantic. Loh wrote:

I follow the old writer's chestnut: "When you face writer's block, just lower your standards and keep going."

Cute, I suppose, and encouraging in its own way, but I'm not sure I agree with the mindset. I had never heard such a thing, and I've been publishing professionally for over 30 years. Maybe it's the difference between mainstream writing (and the expectation of peerless prose?) and genre writing. Or that the mentors I've have and and the pros I hang out with have a more organic approach to writing, an appreciation for story-telling over meticulously "beautiful" language? Or has this writer never been truly blocked, only impatient and self-critical?


Whatever the reason for my not hearing this before, I find its underlying premise destructive: that writing (i.e., composing a first draft) must somehow embody one's highest literary standards. Not to put too fine a point on it, but this is nonsense! If you can just "carry on", what's going on isn't writer's block. It's elitist self-indulgent pifflebunk. If worrying about your "standards" interferes with the flow of your writing, then maybe you're trying to write and to critique yourself at the same time, and it might be better to get out of your own way and just write!

You can always edit and polish to your heart's content, but get the story down first.

For a long time in my early career, I wrote perfectly awful first drafts. I mean really bad in almost every sense -- except the passion I brought to them. Grammar, plot, characterization, prose style, you name it, I butchered it. As a consequence, I learned to revise with a vengeance. I learned that all of these things, these "literary standards" things, are fixable. The only thing that can't be changed is inserting "heart" into a story when it isn't there to begin with. (Or maybe some writers can do that, but I can't.) I'd a thousand times rather write--or read--a story with that core of fiery truth than with the most sophisticated technique in the world.

BOOK RELEASE: Bright Morning, an Anthology in Honor of Vonda N. McIntyre

I made my editorial debut in 2004 with the first volume of the Lace and Blade series and discovered that I loved working "on the other side of the desk." Since then I have edited more volumes of Lace and Blade, The Feathered Edge: Tales of Magic, Love, and Daring, co-edited Sword and Sorceress 33, and took over editing the Darkover anthology series, beginning with Stars of Darkover. Over the years I've had the privilege of working with Tanith Lee, Judith Tarr, Catherine Asaro, Jay Lake, Mary Rosenblum, Chaz Brenchley, Harry Turtledove, and many other, stellar authors.

Now I proudly present the latest gathering of luminous stories of hope and courage. The anthology, stories by writers hanging out together in the Treehouse, arose from a desire to honor our friend, teacher, and colleague, Vonda N. McIntyre. For this anthology, I included both original and reprint stories. 

Vonda N. McIntyre preferred to keep her author's biography short and sweet: "Vonda N. McIntyre writes science fiction." While true, this modest claim conceals accomplishments that earned her multiple accolades and an enduring place among the most influential fantasy and science fiction writers of the 20th and 21st centuries.
 
Even more important to the authors of this tribute anthology, McIntyre was a kind and generous supporter of other writers. In Bright Morning, eleven career writers of science fiction, fantasy, and other genres share stories of hope in her honor, along with their memories of working with McIntyre. Profits from the anthology will benefit a charity that promotes literacy for children all over the world.

Table of Contents

Chautauqua, by Nancy Jane Moore

Dog Star, by Jeffrey A. Carver

Emancipation, by Pati Nagle

In Search of Laria, by Doranna Durgin

A Plague of Dancers, by Gillian Polack

Sanitizing the Safe House, by Leah Cutter

Smiley the Robot, by Amy Sterling Casil

More Lasting Than Bronze, by Judith Tarr

Panacea, by Pati Nagle

The Soul Jar, by  Steven Harper

Cuckoo, by Madeleine E. Robins

Unmasking the Ancient Light, by Deborah J. Ross

To Kiss a Star, by Amy Sterling Casil

Harden, by Gillian Polack

Though All the Mountains Lie Between, by Jeffrey A. Carver

The book is available now in ebook form from all the usual vendors and will be released in trade paperback next month. Reviews are especially welcome!

Lace and Blade 4 Table of Contents

My editorial career began a decade ago when Vera Nazarian, having founded Norilana Books (in 2006) asked me if I'd ever considered editing. Like many other writers, I often wondered what it was like "on the other side of the desk," both in terms of the choice of stories and their evolution into final form. I have had the honor to work with many fine editors; I knew just how helpful a sympathetic and insightful editor can be in bringing out the best in a story. In other words, an editor is -- or can be, if allowed to edit and not simply push numbers around for a multinational conglomerate ‑‑ a story midwife. I also have strong ideas of what works for me in a story, what touches my heart and stirs my spirit. I want to read stories that expand my horizons, that enrich my experience of being human, that evoke a larger sense of community. Vera suggested several themes, including one she coined ("lace and blade," a type of romantic, elegant, swashbuckling sword and sorcery -- think Zorro with magic). She'd also begun working with Tanith Lee to bring out her backlist, and Tanith had agreed to send a story for the anthology

How could I let such an opportunity pass?

Norilana published 2 volumes of Lace and Blade, which not only received wonderful reviews but individual stories made the Nebula Final Ballot and inclusion in "Year's Best" anthologies. The third volume got re-titled something else. After many years and a series of complicated changes, the series found a new home with the Marion Zimmer Bradley Literary Trust (which had also inherited publication of the Sword and Sorceress series that Norilana had taken over after DAW decided not to continue it after Marion's death -- see what I mean about complicated changes!) Now we're back in action, with an amazing, breath-taking lineup. 

Here's what you can look forward to: 

 “At the Sign of the Crow and Quill,” by Marie Brennan

“On the Peacock Path,” by Judith Tarr

“Sunset Games,” by Robin Wayne Bailey

“Sorcery of the Heart,” by Lawrence Watt-Evans

“The Butcher’s Boy and the Piri Folk,” by Pat MacEwen

“Gifts Tell Truth,” by Heather Rose Jones

“A Sword for Liberty,” by Diana L. Paxson

“Hearts of Broken Glass,” by Rosemary Edghill

“The Game of Lions,” by Marella Sands

“The Sharpest Cut,” by Doranna Durgin

“Pawn’s Queen,” by India Edghill

“The Heart’s Coda,” by Carol Berg

“The Wind’s Kiss,” by Dave Smeds

The anthology will be released Valentine's Day (of course!) 2018.

Editing Tanith Lee (1947-2015)

Tanith Lee, one of the greatest writers of fantasy, died recently. I "came of age" in my own fantasy career reading her marvelous stories (even though we were born the same year) and had the delight of editing several of her short stories and in the process becoming friends. Many writers and readers have posted tributes to her. Here is a bit of my own story, originally written as part of a "behind the scenes" series for The Feathered Edge: Tales of Magic, Love, and Daring, which contained the third of the Tanith Lee stories I was privileged to edit.

What is there to say about editing a Tanith Lee story? You sit there, holding the typewritten manuscript that she sent you, and something in your brain turns itself into total fangirl jelly. But you already knew that.

To begin with, the first Tanith Lee story I worked on was for Lace and Blade (2008). She'd agreed to submit a story in the very early planning stages of that project, before I came onboard as editor. And it was my first gig as editor. Over the years, I'd worked with a bunch of different editors and had ideas about what worked for me, what didn't, and how I wanted to interact with writers "from the other side of the desk."  After years of participating in writer's workshops and teaching adult education classes in writing, I was all set to instruct and guide.

None of this prepared me for the experience of holding in my hands an original typewritten Tanith Lee manuscript.

The first, and most important thing, I had to do was to take off my fangirl hat and my fellow-writer hat, and affix my editor hat firmly to my head. This involved an excruciating change of gears. I made mistakes. Of course, I made mistakes. (And I learned how to clean them up.) I wasn't born knowing how to edit, let alone how to edit iconic authors in whose shadows I have long stood. Tanith herself encouraged me. She wrote to me, "On editing though - like writing, I feel strongly one must do what one feels is right. In me, of course, you run into an old war-horse, 40 years in the field, covered in armour and neighing like a trumpet." Which was a most gracious way of acknowledging that the relationship between an author and an editor is an organic process that, when at its best, is rooted in clear communication, deep listening, and respect. Not intimidation (in either direction), but a partnership in which both people have the same goal -- to make the story the best representation of the author's vision.

Midwifing a Story: Editors

Once upon a time, editors were the gold standard of book midwifery. Editors loved books and had the time to not discover budding authors, who received nurture and guidance for their entire careers. The best editors took the “long view” and invested patience in allowing “their” authors time to develop, find their audiences, and achieve their full potential. If a single book didn’t do well, author and editor soldiered on; this loyalty and refusal to give up on the partnership encouraged authors to try new and challenging projects. Editors understood that not every book will be a best-seller and that new writers need time to find the true power of their voices. 

Nowadays, with a few happy exceptions, the situation is very different. In some traditional publishing houses, one editor may acquire a book and another may edit it. Authors who do not rapidly achieve success (measured in dollars, not the quality of their work and the depth of their vision) are dropped or ordered to change their bylines so that poor sales figures do not affect pre-orders of their next books, or even to change the story to make it fit into current marketing niches. More and more, editors spend their time wrestling sales figures for multinational conglomerates instead of working with their authors. Even so, most editors are in the business because they love good books; for them, the thrill of discovering a new talent and seeing it blossom overrides the long hours and the impossible task of satisfying the bean-counters.

COVER REVEAL: GIFTS OF DARKOVER

Here's the beautiful cover, designed by Dave Smeds:

Table of Contents:

Introduction: Darkover, An Evolving World, by Deborah J. Ross (editor)

Learning to Breathe Snow, by Rosemary Edghill and RebeccaFox

Healing Pain, by Jane M. H. Bigelow

Blood-kin, by Diana L. Paxson

The Tower, by Jeremy Erman

Stonefell Gift, by Marella Sands

Compensation, by Leslie Fish

Green Is The Color Of Her Eyes So Blue, by DeborahMillitello

Renegades of Darkover, by Robin Wayne Bailey

Memory, by Shariann Lewitt

A Problem of Punishment, by Barb Caffrey

Hidden Gifts, by Margaret L. Carter

Climbing to the Moons, by Ty Nolan

Gifts of Darkover Table of Contents

Here's the lineup for the next Darkover anthology, to be released in June 2015. I'll show you the cover once it's finalized. I'm very pleased with how the anthology came together.

Introduction: Darkover, An Evolving World, by Deborah J. Ross (editor)

Learning to Breathe Snow, by Rosemary Edghill and RebeccaFox

Healing Pain, by Jane M. H. Bigelow

Blood-kin, by Diana L. Paxson

The Tower, by Jeremy Erman

Stonefell Gift, by Marella Sands

Compensation, by Leslie Fish

Green Is The Color Of Her Eyes So Blue, by DeborahMillitello

Renegades of Darkover, by Robin Wayne Bailey

Memory, by Shariann Lewitt

A Problem of Punishment, by Barb Caffrey

Hidden Gifts, by Margaret L. Carter

Climbing to the Moons, by Ty Nolan

STARS OF DARKOVER Table of Contents

I'm thrilled to announce the lineup of stories for the next Darkover anthology, Stars of Darkover, that
I had the joy and honor to edit, along with Elisabeth Waters. So many fine writers fell in love with Darkover and sold their first stories to Marion Zimmer Bradley, and then went on to stellar careers. The anthology will be released in print and ebook formats in June 2014, in time for Marion's birthday.

The stories are as awesome as the night sky over the Hellers.

Stars of Darkover Table of Contents

All the Branching Paths by Janni Lee Simner

The Cold Blue Light by Judith Tarr

Kira Ann by Steven Harper

Threads by Elisabeth Waters and Ann Sharp

Wedding Embroidery by Shariann Lewitt

The Ridenow Nightmare by Robin Wayne Bailey

Catalyst by Gabrielle Harbowy

The Fountain’s Choice by Rachel Manija Brown

House of Fifteen Widows by Kari Sperring

Zandru’s Gift by Vera Nazarian

Late Rising Fire by Leslie Fish

Evanda’s Mirror by Diana L. Paxson

At The Crossroads by Barb Caffrey

Second Contact by Rosemary Edghill and Rebecca Fox

A Few Words For My Successor by Debra Doyle and James D.Macdonald

News and notes - November 2013

I've been quieter than usual here and I thank you all for keeping the archives nice and warm. A little while ago, I posted various sorts of good news. Here's what's on my plate -- er, my computer -- now.

I'm about to begin editorial revisions to the third book of The Seven-Petaled Shield. It's called The Heir of Khored, and if you've read the first one, that will mean something. If not, you have a treat in store. Heir is a June 2014 release. It's so great to have the volumes come out about 6 months apart. And, I must confess, a bit odd to be plunging into #3 on the eve of the release of #2 (Shannivar).

To "clear the boards for action," as it were, I finished the first, very rough draft of an "Attack Novel." That is, one that so grabbed me that I wanted to write it, even on spec. Depending on how extensive the revisions my editor wants for Heir and when the deadline is, I'm hoping the keep the excitement of this project going, at least long enough to send it out to a beta reader. A beta reader is someone I trust to take a look at the whole shapeless mess and give me an overall reaction. Beta readers are to be treasured and showered with chocolate.

I'm also working on an anthology that I've been keeping silent on until the lineup of stories was complete. Stars of Darkover (to be published by the Marion Zimmer Bradley Literary Works Trust in time for Marion's birthday, June 2014) is just that -- an anthology of stories by "Marion's writers" and "friends of Darkover," superb professional writers all. Once the contracts are done -- very soon now! -- I'll be able to post the Table of Contents. Stay tuned!

And if that isn't enough, I'm putting together a collection of my essays on writing, life, and the care of the creative muse. InkDance: Essays on the Writing Life will come out in January from Book View Cafe.

All Sorts of Great News

... some about my work, others just plain delicious. This week's round-up:

The latest Sword and Sorceress, just released, includes my story, "Pearl of Tears." It's a companion piece or reflection of "Pearl of Fire" from S & S XXII. The narrator, and the consequences of her actions, wouldn't leave me alone. The anthology is available in ebook and print editions from the usual places.

From Book View Cafe, a delicious and awesomely wonderful anthology of "author's favorite" stories (edited by me and Pati Nagle). "From the fantasy and science fiction of our roots to steampunk, romance, historical and mainstream; from humor to life’s hardest challenges, across the spectrum from light to dark. Stories by Ursula K. Le Guin, Vonda N. McIntyre, Marion Zimmer Bradley, and many more." Here's the link to order it or download a sample story. The Table of Contents:

BOOK RELEASE! Mad Science Cafe (anthology)

My latest anthology, from Book View Cafe!

From the age of steam and the heirs of Dr. Frankenstein to the asteroid belt to the halls of Miskatonic University, the writers at Book View Café have concocted a beakerful of quaint, dangerous, sexy, clueless, genius, insane scientists, their assistants (sometimes equally if not even more deranged, not to mention bizarre), friends, test subjects, and adversaries.

Table of Contents:
The Jacobean Time Machine, by Chris Dolley
Comparison of Efficacy Rates, by Marie Brennan
A Princess of Wittgenstein, by Jennifer Stevenson
Mandelbrot Moldrot, by Lois Gresh
Dog Star, by Jeffrey A. Carver
Secundus, by Brenda W. Clough
Willie, by Madeleine E. Robins
One Night in O’Shaughnessy’s Bar, by David D. Levine
Revision, by Nancy Jane Moore
Night Without Darkness, by Shannon Page & Mark J. Ferrari
The Stink of Reality, by Irene Radford
“Value For O,” by Jennifer Stevenson
The Peculiar Case of Sir Willoughby Smythe, by Judith Tarr
The Gods That Men Don’t See, by Amy Sterling Casil

You can download a sample from the BVC  bookstore, too. This anthology includes both original and reprint stories and is available as mobi and epub formats, so you can download the version that's right for your ereader. Best of all, because BVC is an author's publishing cooperative, 95% of the price goes to the authors themselves.

Book View Cafe Editor Interview

Over at Book View Cafe blog, Katharine Eliska Kimbriel interview me "with my editor hat on."


When did you become interested in editing other writers’ work as opposed to concentrating on writing?

I first started thinking about editing during the years when I’d visit Marion Zimmer Bradley on a regular basis. I helped read slush for her magazine (MZB’s Fantasy Magazine) and we’d talk. I got a “behind the scenes” look at what she looked for and why, and how she handled rejection letters. She taught me that the work of an editor isn’t mysterious, in part because her own tastes were so definite. A story could be perfectly good but not suit the anthology or magazine she was reading for, or might do both but not “catch fire” for her. I learned about “no fault” rejections (and I’ve received them myself, for example if the editor had just bought a story on the same theme by a Big Name Author) and that sometimes if an editor thought the story had merit but didn’t fulfill its promise, she could comment on its shortcomings or issue an invitation to re-submit after revision. I thought, “I can do this!” I’d had so many experiences from the Author side of the desk, I approached editing with a set of wild hopes and convictions.

Unsellable Stories?

Gabrielle Harbowy, who is both an editor and writer, knows about "unsellable" stories. As an editor, she's acquired and edited novels that had been rejected so many times, the authors were despondent (and some of these have gone on to receive great reviews and award nominations). She's also rejected stories that other editors have picked up.

My own experience of being both author and editor is that things look different "from the other side of the desk." Yes, making editorial decisions about someone else's work has given me insights into why my own editors do that they do, and especially Not To Take Things Personally.

Gabrielle says,

I should know that nothing’s really “unsellable.” I should know it because I see other authors sell pieces that they love but don’t expect the market to welcome. I should know it because I sometimes acquire them. I should know it because I see manuscripts I reject get picked up and lauded by other (and sometimes bigger!) publishers.

And yet, when it comes to my own work, where I’m the author and not the editor, it’s hard to keep that editor objectivity and ego separation from the work. Just like you can’t tickle yourself, you also can’t be objective about your own work. That’s been an interesting and challenging lesson to learn, but I know I’m a stronger writer for having learned it.

Sometimes stories don't sell because they really aren't good enough, because they have unsurmountable flaws. But sometimes they're wonderful stories that don't fit the market...or have not yet found the editor who will love them. As much as I applaud the proliferation of publishing options that includes self-publishing, I know all too well from my own experience that (most of the time) I cannot tell the difference. 

The Feathered Edge Tackles Norse Mythology

My relationship with Rosemary Hawley Jarman is all Tanith Lee's fault. Which is actually a good thing. In my more whimsical moments, I suspect there is a secret society of British fantasy authors who, if they don't actually know one another, enjoy only a single degree of separation. (Sometimes that degree is me, and it's both odd and delightful to be performing introductions across the Atlantic between people who live on the same island, but that's another story.) So when Tanith introduced me to Rosemary, Rosemary and I also had another connection, which is that the small press Norilana was publishing both the first anthology I'd edited and Rosemary's romantic fantasy, The Captain's Witch. Her 1971 novel, We Speak No Treason, featured the much maligned King Richard III.

Rosemary is one of the authors who teach me about editing. It's quite a humbling experience to work with writers with far more years and experience than I have. I feel privileged to get a peek into their

The Feathered Edge: Editing Tanith Lee, With Sword and Chameleon

Last year I began this series on "the stories behind the stories" in this anthology of marvelous fantasy stories I was privileged to edit. I got about halfway through when life in the form of writing deadlines intervened. So I'm going to repost them and hopefully finish the series, then put them together in a companion volume. to The Feathered Edge.

What is there to say about editing a Tanith Lee story? You sit there, holding the typewritten manuscript that she sent you, and something in your brain turns itself into total fan-girl jelly. But you already knew that.

To begin with, the first Tanith Lee story I worked on was for Lace and Blade (Norilana Books, 2008). She'd agreed to submit a story in the very early planning stages of the project, before I came onboard as editor. And it was my first gig as editor. Over the years, I'd worked with a bunch of different editors, and had ideas about what worked for me, what didn't, and how I wanted to interact with writers "from the other side of the desk." Marion Zimmer Bradley had been a role model and inspiration about how to encourage new writers. After years of participating in writer's workshops and teaching adult education classes in writing, I was all set to instruct and guide.

None of this prepared me for the experience of holding in my hands an original typewritten Tanith Lee manuscript.

The first, and most important thing, I had to do was to take off my fangirl hat and my fellow-writer hat and affix my editor hat firmly to my head. This involved an excruciating change of gears. I made mistakes. Of course, I made mistakes. (And learned how to clean them up.) I wasn't born knowing how to edit, let alone how to edit iconic authors in whose shadows I have long stood. Tanith herself encouraged me.

She wrote to me, "On editing though - like writing, I feel strongly one must do what one feels is right. In me, of course, you run into an old war-horse, 40 years in the field, covered in armour and neighing like a trumpet." Which was a most gracious way of acknowledging that the relationship between an author and an editor is an organic process, when at its best rooted in clear communication, deep listening, and respect. Not intimidation (in either direction), but a partnership in which both people have the same goal -- to make the story the best representation of the author's vision.

The Feathered Edge: Swords, Souls, and Editing Tanith Lee

What is there to say about editing a Tanith Lee story? You sit there, holding the typewritten manuscript that she sent you, and something in your brain turns itself into total fan-girl jelly. But you already knew that.

To begin with, the first Tanith Lee story I worked on was for Lace and Blade (Norilana Books, 2008). She'd agreed to submit a story in the very early planning stages of the project, before I came onboard as editor. And it was my first gig as editor. Over the years, I'd worked with a bunch of different editors, and had ideas about what worked for me, what didn't, and how I wanted to interact with writers "from the other side of the desk." Marion Zimmer Bradley had been a role model and inspiration about how to encourage new writers. After years of participating in writer's workshops and teaching adult education classes in writing, I was all set to instruct and guide.

None of this prepared me for the experience of holding in my hands an original typewritten Tanith Lee manuscript.

The first, and most important thing, I had to do was to take off my fangirl hat and my fellow-writer hat and affix my editor hat firmly to my head. This involved an excruciating change of gears. I made mistakes. Of course, I made mistakes. (And learned how to clean them up.) I wasn't born knowing how to edit, let alone how to edit iconic authors in whose shadows I have long stood. Tanith herself encouraged me. She wrote to me, "On editing though - like writing, I feel strongly one must do what one feels is right. In me, of course, you run into an old war-horse, 40 years in the field, covered in armour and neighing like a trumpet." Which was a most gracious way of acknowledging that the relationship between an author and an editor is an organic process, when at its best rooted in clear communication, deep listening, and respect. Not intimidation (in either direction), but a partnership in which both people have the same goal -- to make the story the best representation of the author's vision.

The Feathered Edge is out!

Some years ago, I began editing anthologies, "sitting on the other side" of the editorial desk, as it were. I had a wonderful time, made a ton of mistakes, did a lot of things right, made some splendid friends, and had even more fun inviting writers I'd long admired. But the publishing world is bumpy and unpredictable, and I found myself with a completed anthology and no publisher -- and a climate in which I got told over and over, "no one is buying anthologies."

But I did not give up. For one thing, this one was so splendid, so delicious -- funny, heart-breaking, romantic, derring-do-ish, action-packed stories from amazing writers -- that I could not simply walk away from it. Judith Tarr, one of the contributors, called it, "lovely lush fantasy." So I got stubborn. And kept trying. And...

Sharpening Critical Skills, A Few Thoughts Thereon

As I was learning to write at a professional level, I participated in a long-running writer's group, along with people who'd attended the Clarion workshop and Advanced Writing courses at UCLA. Thus, as I struggled with my own writing craft, I also learning to read carefully and give written critiques. This involved a number of skills, including identifying problems with the story -- whether they were at the level of prose/diction/grammar, plotting or characterization, atmosphere and authorial voice, or theme and dramatic shape. As I got better, I learned also how to read between and beneath the lines, and especially to pay attention to what the writer was trying to do, not how I would prefer to re-write the story.

As in other groups, we gave the author written critiques after reading them aloud. This had benefits for the author, who did not have to take notes and remember everything, but could just listen and take in as much as humanly reasonable under the circumstances, as well as for the group, so we could all hear each other's reactions. But it also forced me to write down what I saw, where the writer lost my confidence, what struck me as infelicitous or out of tune or just plain lacking in credibility.

Coming March 2012!

In recent years, I have had the joy of editing several anthologies: 2 volumes of Lace and Blade for Norilana Books, and 2 forthcoming stand-alone anthologies, Beyond Grimm, Tales Newly Twisted for Book View Cafe, and The Feathered Edge: Tales of Magic, Love, and Daring for Sky Warrior Books. So I've spent a fair amount of time reading stories and thinking about how and why they work/don't work.

Editors Are Your Friends

There's a tendency among newer writers (and -- let's face it -- all of us, at one time or another) to regard editors as adversaries. First of all, acquiring editors are gate-keepers. They're the ones with the power to say No, the ones we have to get past in order to get our books accepted and paid for. They're the ones we think of bribing with chocolate, or placating and cajoling and offering the sekrit handshake to.

Then, once we've cleared that hurdle, we have to face editorial revisions. It isn't enough that we've toiled and toiled and turned ourselves into knots getting a book accepted -- now they want to us to change stuff! To alter our peerless prose! What if they want us to do something that's wrong, wrong, wrong for the book? Where do they get off telling us what to do, anyway?

Madeleine E. Robins made a wonderful comment on this:

My constant refrain, when I'm talking to would-be, wanna-be, and future writers, is: "editors are your friend. They keep you from going out in public with your slip showing and pieces of spinach caught in your teeth. Yes, there are some editors who are, um, overzealous. But most of them have the best interest of your work at heart, and I doubt there exists an editor anywhere who gets up in the morning saying "How shall I screw up great works of prose today?" 

What is sad is that twice I have been informed by someone in the crowd that editors were just wanna-be writers who were taking out their disappointment on the text before them.

While many editors are also writers, many are not and never want to be. They love editing, they love "midwifing" wonderful books -- they want to fall in love with yours and make it the best it can be. It is such a joy to work with an insightful, skilled author. Truly, such a professional is an author's best friend. 

Critiquing Vs. Editing

Renoir, 1889

Editor Jessica Faust at BookEnds Literary Agency blogged on "How I Edit," ending with these words:

As far as I'm concerned you can run with my suggestions or you can ignore them altogether and go off in your own way. I don't care how you want to fix the problems I see, I just care that when I read it the next time those problems/my concerns are gone.

This inspired some thoughts on the differences between critiquing and editing. Both involve handing your precious manuscript, child of your dreams, the darling of your creative muse, to another person and asking what they think of it. In other words, even as we cringe inwardly at the prospect, we have granted permission for them to say things we aren't going to like about it. Of course, we want to hear how much they loved it and all the things we did brilliantly. The point of the exercise, though, is to improve the story.

The most useful things I find in critiques are reader reactions, comments like, "I'm confused," or "This doesn't make sense," or "I don't believe this character would act this way." Or, simply, "Huh? You've got to be kidding!" Snarkiness aside, such comments tell me where there is a problem. The reader may be right about what the problem is, or what they object to may be the tip of an iceberg and the true problem lies elsewhere.

In critique format, I really, really don't want to be told how to fix those problems, and I don't know any writers who do.