If there’s one thing I’ve learned in 23 years in this business, it’s that no “writing rule” is etched in stone. Case in point: I just read a “market update” in the Romance Writer’s Report that Harlequin Historicals is encouraging writers to explore virtually ANY time period through World War II. That means Vikings, middle ages, Civil War, French Revolution. Only a short while ago, you had little chance of selling a historical unless it was a medieval or a Regency-era set in England or Scotland.
Another example: Ten years ago, I was told I could not sell a category book unless it included a bride, baby, cop or cowboy, preferably some combination. While those elements are still popular, what the editors are mostly saying is that they’ll consider almost anything, if it’s done well. If you can make an offbeat setting or theme compelling, you have a chance.
What got me to thinking about all this is a conference I attended this weekend, NOLA’s “Written in the Stars” in Shreveport, Louisiana. Three editors and an agent sat in the front of the room, and each of them had the same answer when asked, “Is there anything you don’t want to see?” They all shook their heads.
How refreshing!
One editor did say she disliked reading manuscripts that sounded like an amalgam of every other book on the shelves, and the other panelists agreed. The prevailing opinion was, avoid rewriting all the life out of your book. Don’t let dozens of people critique your manuscript and follow every single bit of advice until the story is no longer yours, until it’s as generic as Wonder Bread. You have a voice–guard it! This same editor even went so far as to say she likes to see submissions that are a little bit rough. This is quite a departure from what we’ve been hearing for years: “Polish, polish, polish. Don’t send out your manuscript before it’s ready.”
I was happy to hear this advice, because lately I allow only one person read my work, and I think very hard before changing something. I’d been feeling guilty about this approach. Am I too arrogant? Should I be getting more feedback, spending more time honing and polishing? But maybe I’m just protecting my voice. I’m certainly feeling good about the manuscripts I’m submitting, even when they don’t sell. I’ve rediscovered the excitement of writing.
So I urge other writers to realize that you wrote your book–even a first draft–a certain way for a reason. I’m not advocating a “set in stone” policy. But don’t assume that every contest judge or critiquer knows more than you do. Even agents and editors might not be right when they ask you to change something. Hold true to your vision. Listen to advice, consider it carefully, but don’t try to please everyone. Because in the end, it’s your name on the cover.
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Yay! I agree. My last book all of two people beside my editor read it before I turned it in. Two people who I know “get” my writing to start with, and yes, I felt guilty about it. But, I think Stephen King has it right when he advises writers to write to that one special reader, (to me the embodiment of your target market) and to listen to that one special reader, not twenty people. Figure out what you write and do the best job of being you, you can.
You’re never going to please everyone – face it. Not even Nora can claim to pleasing everybody.
Great post.
What a fantastic post. I realized the value of “protecting my voice” a while back, and I think my writing has definitely improved now that I’ve learned to trust my gut and now that I’ve limited the number of other voices giving input to a select few. I have my special little crit group and a couple of friends I trust, and that’s it.
Thanks, Kara!
What an insightful post, Kara– and this comment in particular:
Don’t let dozens of people critique your manuscript and follow every single bit of advice until the story is no longer yours, until it’s as generic as Wonder Bread. certainly rang a chord with me as it’s something I’ve felt myself for a long time. (And yes, I felt HORRIBLY arrogant for doing it) However, I felt like such a… rebel, I guess, especially when I heard people say things like, “I enter contests to get feedback and help me edit my story,” or “I belong to twenty-six different critique groups and they all help me.”
Personally– I don’t get it. Unless you receive the same comment several times over from multiple peope that might point to a potential flaw, why change anything on the basis of what one random individual thinks of a what basically only a sampling of your work?
Definitely something to consider, IMO, especially in light of the type of opinions you described hearing at the conference, which also echoes what I heard recently at Fun in the Sun.
Great post.
Barb
People, even.
Jeez, never post before finishing coffee. You’d think I’d have learned by now.
There’s a madness to my method
I don’t normally post on Sundays, but there’s an interesting discussion going on at Romancing the Blog. It’s something I’ve thought about quite a lot, so instead of leaving a brief comment over there, I’m going to discuss the subject here. That’s…
Wonderful post, Kara! I’ve never had a critique group or a critique partner—and never felt the lack, either. Beyond my editor, and sometimes my mother, I’ve never shown a book to anyone while I was writing it and probably never will. Why? Because for me, input at the writing stage would interfere with my creative processes and cause me to lose all enthusiasm for the book. I’ve always worked best when left alone to do my own thing. I’ll be glad if we are indeed swinging back to a “no rules” market, because there are lots of time periods and place settings I’d love to explore!
I know it’s heresy, but before I wrote my first romance, I’d only read one romance. So my first critique group was invaluable in helping me understand the genre. Now that I’ve been around for awhile, I don’t have a critique group, but I still need a read from one of very few people, because my own sense of what I’ve written isn’t that trustworthy. I think it’s crap when I’ve finished – it’s only after I’ve let it rest for a long while that I can judge my own work. Great post, Kara!
You know, while I think that sounds wonderful, a little voice inside my head says, but do they MEAN it? When they say they’re open to Depression-era female vampires who fall in love with shapeshifting, hunky Indian warriors…I have to wonder. Are they just bored with the same-old, same-old, and they want to see new and different? Or do they want to BUY new and different? There’s a world of difference between being open to submissions that are “different” and BUYING “different.” Time will tell, I guess.
Kara – great post!
1. I too was thrilled to hear about Harlequin opening up the Historical field – may other major pubs also follow suit
2. I DO work with critiquers, but have learned how to weigh their opinions/advice against my own feelings and intuition. It works for me. I also only work with people I truly trust.
Gasp! What you say is heterodoxy, but I agree. Instead of a writer who critiques my stuff, I’m more interested in “just” a reader reading a revise ms and asking only general impressions, where they got bored and where they couldn’t put it down.
Thank you everyone for your comments. Of course there are times when a critique is appropriate–particularly if you feel something is wrong but you’re not quite sure. I like to get a critique when I’ve rewritten something several times and I’m not sure if it makes sense anymore!