Should You Hire an Editor or Join a Critique Group? (Part I)
O my goodness did I receive some outrage from my post on Tough Love and Top Flight Editors a while back. I think that folks thought I was “slamming” critique groups. I wasn’t but will provide you my thoughts now.
But to ensure we provide you a holistic view of the subject I’ve asked my colleague and staunch critique group supporter, Barbara Longley, to join me in this discussion. Barbara is the incredibly talented author of Heart Of The Druid Laird- Carina Press, and she has a new trilogy coming through Montlake Publishing beginning with Far From Perfect releasing October 23rd. To read excerpts of her work, you can visit her website at this link.
Anyway, enough about Barbara….let’s talk about what I think…….
KEVIN: Critique groups are a waste of resources. To me resources equal time, effort and money. I’m not complaining but I easily put in 60 hours a week at work. I put another 15 to 20 hours for writing, 5 hours for social media. (I tweet way too much on my commute to work though).
Then I try to maximize every other second I have available to for my new baby boy and wife. When in the world would I ever have time to meet with a group of kind hearted folks and listen as they talk about their writing? Maybe, just maybe I would get a chance to talk about my own writing? Thanks but no thanks. Just the thought of driving to the group exhausts me!
Do they serve wine at these critique groups?
When I have the time to focus on my writing I want the person I am working with to also be focused on my writing! Pay an editor and you have their time. Yes, I get it….editors aren’t cheap. Well you can find some cheap ones but again you are just wasting your time. I worked with my editor through phone and email…it was quite convenient and on my terms.
I’m a Soldier in the United States Army so you know I’m not rich. But my writing is important enough to me that I sacrifice other things because I value professional advice. Wait….hold on…….I’ll talk about that next.
All right…I’m gonna let Barbara speak because frankly I am scared that she will yell at me if I don’t.
BARBARA: Before I rant, I figured people might be interested in hearing how you and I have connected, Kevin. The trilogy coming out through Montlake Romance focuses on wounded warriors returning home from Iraq or Afghanistan and finding their happily ever after through the healing power of love. (Sappy, I know, but that’s who I am.) I don’t do the super heroic, “special ops on secret missions” veteran characters. I know they exist, and I have the greatest respect for them, but I’m more interested in the regular Joe’s experience.
Anyway, during the research part of the trilogy, I started reading Kevin’s amazing blog about soldiers who are handlers for military working dogs, and the bonds they form. Love it. I started leaving comments, and we connected. We’re also both on Twitter. Kevin very graciously answered some of my military questions, and we’ve been talking back and forth ever since.
Just between you and me, readers, it makes no difference to me how Kevin’s book (Paws on the Ground) gets on the shelves. I just want to freaking read it!
OK. My rant: First, I have to say that I also work a full time day job, plus I raised two kids on my own while working on my masters and writing my first novel, so I get the whole “time is a limited resource” thing. I just don’t agree with it. If something is important enough, you make time. As a writer, I cannot think of a single greater resource than other serious minded writers. There is no greater resource. Period. That’s my position in a nutshell. And, your description of how a critique group works is nothing like what happens, not in my groups anyway.
Depending on how often we get together, here’s how it goes: Prior to our meeting, we exchange chapters. We read each other’s work, make notes, critiques, etc. Then we get together and go page by page through each other’s chapter, explaining what didn’t work, what did, pointing out inconsistencies, characterization/motivation issues, line edits, etc. In other words, if you’re my CP, I’d talk about your work, not mine. Then it would be your turn to talk about my work, not yours. It’s very focused and serious. We get down to business. We rock. Then, I go home with all those marvelous notes and make my novel better than it was without that input. It’s GREAT. The only time we talk about our own work is if we request a brainstorming session when we’re stuck. In which case, we state the problem concisely, and it opens up for discussion after that.
Gah. I wouldn’t be able to tolerate what you described as a critique session either! BORING. Not what happens in the groups I’ve worked with. Ever. Never ever, Kevin. Not once. A writer would be quickly voted off the island in that case.
I work with authors who are committed to their careers and to improving their craft. When one enters into a critiquing agreement, a promise is made. When I am reading your writing, I am giving it my all. I am focusing on your writing 110%, and that includes editing. I do this because I trust my partners to do the same for me. I’ve worked with critique partners since I began writing with the serious intent of getting published, and I wouldn’t be published if I hadn’t opened myself up to that experience. I am eternally grateful to the authors I’ve worked with along the way, and I hope to always have CPs in my life.
My thoughts on unpublished authors hiring editors: There’s an inherent conflict of interest when you pay someone to give you “honest” feedback about your writing. Editors for hire want to please their clients, because it may lead to more money making editing gigs. Just think about it, Kevin. How brutally honest is a paid editor going to be about the marketability of a writer’s book when to do so might mean the job comes to an abrupt, unpaid end? Whereas, critique partners are on the same journey you are. They are learning what works, what doesn’t, developing their own unique voices and helping you to develop yours. It’s a partnership on equal terms. A good critique partner will be brutally honest. (In a respectful way, of course.) They don’t have the client relationship to worry about. They have only your best interests at heart.
Another reason why critique groups are so important: When creative minds get together, good things happen. Say you’re stuck on how to get your plot from point A to point C? Brainstorming with your CPs can open it up for you, give you fresh ideas and help you get unstuck. The brainstorming can be a springboard for so much, including reenergizing your sagging creativity. And yes, sometimes we’ve been known to include wine or beer in our brainstorming sessions.
There’s no bond like the bond you have with a trusted writing partner. You can’t “pay” for something like that. You have to earn it.
I do get that everyone’s path to publication is different. Your way works for you, and my way works for me, but I think you’re really missing out on one of the best things about writing, and that’s the partnerships and the bonds you form with other writers. Once you’re under contract, you’ll have an editor assigned to you. More than one, actually. They’ll do their job, and you’ll do yours, and the next book you might have completely different editors. You don’t choose them; you’re publisher does. Critique partners are writers you choose to work with. You’re all in it together to better yourselves and your craft. It simply cannot be beat. Critique groups decide how often to meet. Some get together once a week, others only once every few months. It’s entirely up to you and your group. It’s an invaluable resource, and a total growth experience.
Back to you, Kevin. I’m certain you’ll have lots to say.
Note: We broke this little spat into two posts. I won’t say it was because Barbara talks a lot….but that was in fact the reason. I forgot to ask Barb…do you think those underline sentences mean she is yelling at me?
So, do you side with Kevin or Barbara? Why?
What has worked for you?
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