The Key Ingredient

I like the idea of a lot of things.

For example:
Gardening. I see people gardening and eating home-grown vegetables, and I think, I want to garden.

Cooking. I run into these people who cook organic, healthy meals for their family every night, and I think, I want to go organic and learn how to cook.

Big family. I see big families. Those mothers with a passel of kids (Hi, Jody!), two hugging their legs, another starting high school, yet another graduating, and I think, I want a big family.

Scrapbooking. I see friends who catalog every moment with their children and put all the memories into a scrapbook, and I think, I want to scrapbook.

These are things I see and think, “Yeah, I’d like to do that.”

But the idea of doing them versus the reality of doing them exists on different planets. Sure, I may want a garden, but am I really willing to sacrifice the hours spent bent over dirt, digging, planting, and watering? I may love the image of my family around the dinner table eating a home-cooked meal, but am I willing to spend the extra time in the kitchen, putting together dinners while my kid is begging for attention and I’m tired from working all day? I may like the idea of a big family, but wow, am I willing to sacrifice all that sleep, all that me-time, all that sanity?

Reality is hardly ever as glorious as the idea. Ideas are easy. Reality is hard. Ideas are pretty and pleasing. Reality can be ugly and frustrating.

A lot of people like the idea of writing a book. But not many people sit their butt in front of the computer each morning when they’re feeling tired and insecure and type word after word for 300 plus pages.

A lot of people like the idea of getting an agent and finding a publisher. But not many people care to withstand the mind-numbingly long waits, the rejection, the doubt, the naysayers.

The thing of it is, reality takes commitment. It takes stamina. It takes a passion that is alive and pulsing. Because without the passion, the commitment and stamina won’t last. I might dig up a patch of land in my backyard, even plant some seeds, but lose interest when the cucumbers don’t grow like they’re supposed to. I might buy a new recipe book and a spice rack only to watch them collect dust. You see where I’m going. Passion needs to be there.

If you’ve got the passion, it’ll keep you committed when you want to quit. It’ll keep you going when you’re exhausted.

Passion is key.

Passion is mysterious.

Passion is not in our control.

It’s not something we muster up in our own strength. It’s something God gives us, like a gift. It’s that undefinable quality, the yeast in our work, whatever that work may be, that makes it rise.

Questions to Ponder: What passions have made your ideas into realities? Do you have the passion it takes to write? Do you have the passion it takes to write for publication?removetweetmeme

3 C’s – It’s Friday!

Cares:
The bad news – I need to rewrite the last one hundred pages of my WIP. The good news – when I finish, the story will be one hundred times better than it is now.

Concerns:
Lots of headaches and shoulder/neck aches lately. I think I carry all my stress in the upper third of my body. Didn’t have a single shoulder/neck ache ALL summer.

Celebrations:
Right now, as I type this, I’m eating a Milky Way candy bar. None of that fun-sized business either. It tastes like heaven.

Nothing’s happened yet as far as Pub Board, but the editor emailed my agent to say they are hoping to get it there soon.

Either my students and I are still honeymooning, or they are a really well-behaved class.

Question to Ponder: What are your cares, concerns, and celebrations today?removetweetmeme

Don’t Take my Voice Away

Critiquing.

We talk about it a lot in writerly circles. The value of having a critique partner or a critique group. The value of getting objective feedback. How it’s a necessary endeavor if we want to grow and succeed as writers.

But that’s not what I want to explore today.

Today, I want to explore that tricky combination of voice and critiquing. I want to explore how we do the latter without diminishing the former. How do we offer critiques, without muting a writer’s voice? How do we receive critiques, without losing that mysterious, beautiful thing that makes us who we are?

When I first started critiquing, I marked people’s manuscripts with ALL kinds of track changes. I’d read sentences or whole paragraphs and think – I know a better way. I thought I was helping the author, and I’m sure some of my comments were helpful. But looking back, a lot of my critiques weren’t about making the story stronger. A lot of my critiques were about making the story sound more like mine.

Here’s the thing. We like our own voice. It’s sort of how, as parents, we look at other kids and secretly think, “My kid’s cuter.” In an objective world, that may not be true, and honestly, how can we compare babies or kids in regards to cuteness? They’re all cute and lovely in their unique way. But we prefer our kid’s face, because it’s familiar and meaningful and part of us. I think that’s the same with voice.

But the more I critiqued, the more I realized it wasn’t my place to change somebody’s voice. Slash unnecessary adverbs, yes. Look for repetitive words and sentence construction, yes. Look for character inconsistencies, plot holes, sagging middles, cliches, head hops, confusing passages. Yes, yes, and yes. But leave voice alone.

Don’t mess with it.

So what should we do in regards to critiquing voice?
Encourage your critique partner to explore it. Encourage him or her to work harder on bringing out his or her voice on the page. But whatever you do, don’t change it to make it sound more like yours.

How do we do this?

Here are two experiences that helped me:

  • I once got a paid critique from Camy Tang. She highlighted places in my manuscript where my voice dripped off the page and encouraged me to find ways to bring out that same voice in other areas of the manuscript. She pointed out MY voice and encouraged me to use it more often.
  • After one of my books made it through editorial, an editor from the publishing house emailed my agent and told her they were (and still are) excited about the book. They love, love, love the prologue. My voice is engaging and strong. But when chapter one starts, my voice loses its sparkle. This editor encouraged me to make the voice in chapter one truer to the voice in the prologue.

    During a lengthy phone conversation with my agent, I asked, “How in the world do I do this?” and hoped for a concrete answer, but of course she couldn’t give one. Rachelle couldn’t say, “Oh, honey, just cut this adverb here, add a short sentence there, change this verb to that verb, and you’re golden.” Of course she couldn’t. Because voice is all me. It’s something I have to figure out.

    She did give me some guidance though. She told me to read the prologue out loud. Get a feel for the mood, the cadence and rhythm. Then go through the first couple chapters of my manuscript and find ways to evoke that same mood. She admitted it wouldn’t be easy. It would involve exploring my thoughts and feelings, looking deep inside, and figuring out what I have to offer the page. It was a very insightful exercise. I’m not sure I got it right, but I do think I learned loads about my voice.

All this to say: When you critique somebody’s work, don’t change things that don’t need changing just because you think it sounds better your way. And when you receive a critique, don’t jump on every suggested change. Take some time. Evaluate the critique. Figure out, is this a voice thing, or is this a craft thing?

Happy critiquing! And thanks to my two fabulous critique partners, Jeannie Campbell and Erica Vetsch for not taking my voice away.

Questions to Ponder: How do you check yourself when you’re critiquing? How do you make sure you’re not changing the writer’s voice? How do you stay true to your voice but listen to feedback? Please share! This is definitely not something I’ve got figured out!

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