Are Published Writers Divas?

If I'd had a crystal ball, I would have made a prediction about an anthology I've been editing. Several well-known authors have contributed stories. Very exciting, except I was worried about dealing with divas.

And I definitely am.

They fight every suggestion made by me or the other editors, copyeditors, and proofreaders. Even when five people on the editorial team insist something isn't working, they totally ignore the suggestions. They skip over requests for edits, so the manuscript has to be sent back multiple times requesting the same rewrites. They're so tied to their words that they argue about even small changes. Exactly what I was expecting, except...

The writers who are doing this are NOT the big-name authors.

The multi-published authors are a dream to work with. They turn in their edits on time and do a wonderful job on any requested rewrites, making the story stronger each time. They say "thank you" for the suggestions and say that the edits have improved the story. And every single one of them ends with a final line something like this: "If this doesn't work, please let me know, and I'll be glad to rewrite it."

So who are these divas I'm working with? They're the pre-published writers, the newbies, the ones who have had two magazine stories published in local magazines. They're the ones who are so puffed up about being included in an anthology with "real" authors that they cling doggedly to every word, every idea. "If this story was good enough to get me accepted, it should be ready to publish as is" is their mantra. They fail to realize that most editors accept on potential, not perfection. And sadly, they're making a name for themselves as being hard to work with, which may mean this could be their only shot at publication.

So while my peek into the crystal ball was accurate, the details were murky. I've learned that far from being divas, published authors are willing to work at their craft and seek ways to improve what they write. Which, most likely, is the real reason they're published.

Upcoming Writing Workshops for $15

In keeping with the theme of the previous posts on revision workshops (see 5-31-11), here are some more chances to improve your writing. Two workshops by Leap Books Editor-in-chief, Kat O'Shea, will be available online this summer at Savvy Authors. These four-week-long classes are available at the bargain price of only $15 each ($25 if you aren't a member--but if you're a writer, it's well worth joining for all the great free info). Click on the links below to register. And if you don't want to wait several weeks, you can find writing advice from Kat now in "First Chapter Mistakes." Best of all, if you been dying to submit to Leap Books, taking one of these classes will allow you to do that. [Please note that except for special calls for submissions, such as for the Spirited anthology, Leap Books only accepts submissions from agents.]

Editing with an Editor

Instructor: Kat O'Shea. One of the fastest ways to get your manuscript rejected is to submit one that needs substantial editing. Grammar and punctuation are important, but they aren’t the only things that give your manuscript a quick trip to the rejection pile. Learn editors’ pet peeves and how to avoid them as well as how to tackle overall manuscript revision and still keep your sanity.

WHEN: Jun 27 - Jul 24, 2011

COST: $15 for Premium Members; $25 for Basic Members


Click Here to Register


Story Structure

Instructor: Kat O'Shea. An interesting and exciting beginning will draw readers in, but how do you keep their interest high throughout? A well-plotted story will keep them turning the pages and make them eager to read your next book. Both plotters and pantsers will benefit from knowing how to structure a story that readers can’t put down. Learn about different story structures, such as the 3-Act and the Hero’s Journey, and how introducing change bombs and writing cliffhangers can help you avoid sagging middles.

WHEN: Aug 1 - Aug 28, 2011

COST: $15 for Premium Members; $25 for Basic Members

Click Here to Register

Rough Enough

I recently undertook a big job for my annual summer remodeling project. My dear husband puts up with and helps me each June and July when I dive into some major shakeup of the old homestead. We moved into our six bedroom home almost thirteen years ago and have painted everything at least twice already except the master bedroom. When we moved in, it had a very dark masculine wallpaper covering every inch. I didn't care for it but it was expensive appearing paper so we put off removing it for years. And my husband does professional residential and commercial painting so we knew the danger of removing wall paper. You never know what is underneath.
But I took the plunge on Monday and removed that durn paper. Took me about twenty hours and it was worse than we had feared. The wall behind the paper hadn't been prepped at all by whomever put up the paper. We were left with a very rough surface and many nicks as well as a couple dozen nail holes that weren't visible when the paper was on. I won't go into the many step process my husband used to turn those beat up walls into a smooth perfect surface sporting a beautiful new coat of paint, but while sanding and cursing this week I also had lots of time to think about my writing.
I have a friend who writes her first draft and it's nearly perfect. I have other friends who write up a plot so detailed, they might call it their first draft. We all have our different methods and I'm amazed at the differences. I know where my novels will start and where they will end and then do the plotting of the middle in my head. That means my first draft is rougher than any wall have destroyed by wall paper removal. After I finish my rough draft, I retype the entire book using that rough draft as my plot outline.
That second typing is when I check for overuse of words, plot inconsistencies, passive verbs and the myriad of other things that might cause the manuscript to be rejected. I make notes on a piece of notebook paper of things I need to change in the early parts of the book to make sure my characters end up where they're supposed to be when they need to be.
I'm guessing if we put ten novelists at a round table, we might get ten different processes of getting that finished product polished and ready for the world to read. I'm not sure one is better than the other, but if what you're using is working, perhaps you should try another. Don't select a method because you know it works for a successful author of your acquaintance and then stick with it forever. Find a style of plotting and editing that fits your personality and comfort zone.