Episode 38: One's Place: Science Fiction Critique

Alyssa & Leslie critique the opening of a science fiction adventure story, “One’s Place,” by Edwin Downward. They discuss characterization, setting, lingering questions, plot devices, and diversity in science fiction.

 

 

 

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Show Notes

The main thing I try to do is write as clearly as I can. I rewrite a good deal to make it clear.
— E.B. White

 

Read the full, edited version of "One's Place" here.

Want to find out what happens to June? Check out Edwin Downward's Synergy of Hopes.

Find out more about Edwin Downward on his website.

 

Inline Critique

Episode 37: Ripples Through Time: Literary Fiction Critique

Episode Description

Leslie & Alyssa critique the opening of the literary fiction novel Ripples Through Time by Lincoln Cole. They discuss characterization, telling detail, the power of subtlety, and what defines literary fiction.

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Show Notes

[T]he best modern fiction and nonfiction writers let a character’s visible persona speak for itself. They carefully choose a few details that hint at the underlying character. Through the choice of detail, they lead readers to certain inevitable conclusions about the character they are describing. They create character, in other words, through careful reporting. Their method of characterization, unlike that of Henry James and other 19th-century novelists, is largely indirect.
— Jack Hart

Ready to find out what happens to Calvin? Read on!

Check out Lincoln's website and other books.

Inline Critique



Episode 36: Crystal: YA Fiction Critique

Alyssa & Leslie discuss genre, pacing, tension, and engagement as they critique the first five pages of Christine Waters’s Crystal, an as-of-yet unpublished young adult novel. 

If you enjoy this podcast, we encourage you to leave a review on iTunes or Stitcher. Thank you!

 

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Show Notes

Heroic qualities are highly desired. No one disbelieves in them. Everyone seeks them, and in their absence feels disappointed. Furthermore, it doesn’t take much to endow a protagonist with qualities that we like and admire. A small show of gumption, a glimmer of humor, a dab of ironic self-regard can be enough for us to hold onto.
— Donald Maass

Inline Critique

Episode 35: Eclipse of the Heart: Historical Fantasy Critique

Alyssa & Leslie discuss poetic prose, character introductions, genre expectations, and setting in this critique of the opening of Winifred Onyema’s novella, Eclipse of the Heart.

 

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Show Notes

For the writer who truly loves language, a trip to the copy editor is like a week at a spa. You come out looking younger, trimmer, and standing straighter.
— Betsy Lerner

Here's a link to Monica Leonelle's book, The 8-Minute Writing Habit.

Inline Critique

Episode 34: Chasing Status Quo: YA SF/Mystery Critique

 

Leslie & Alyssa discuss prologues, openings, establishing the genre, character relationships, and sensory detail in this critique of the opening of Melissa Bieman’s Chasing Status Quo.

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Show Notes

But where should you start your story—and when—given that it makes such a difference in the story’s success or failure? For example, right now you’re in a room with a talking penguin, a woman with a gun, and someone hiding behind a potted plant. From your perspective, you might want to rewind events to a point where you can make more sense of it all. However, many writing instructors suggest starting the story as late as possible. What does “late” mean? It often means that moment at which maximum dramatic tension occurs without the loss of so much context about character, setting, and other elements that the drama is meaningless or confusing.
— Jeff Vandermeer

Here's the article Leslie mentioned about prologues.

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Episode 33: Children at Tide's Ebb, Literary Short Fiction Critique

Leslie & Alyssa discuss poetic prose, interesting structure, the hallmarks of literary fiction and how this piece displays them, symbolism, and grounding the reader in the face of extremely poetic prose.

 

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Show Notes

So, good literary fiction—at least in my experience—is that which marries excellent plotting with thought-provoking language, or that which simply dazzles us with language and characterization even if the plotting remains subtle.
— Suzannah Windsor Freeman

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Episode 32: Last Eve Science Fiction Critique

Alyssa & Leslie critique the opening of Last Eve, a short story by Carolina Greene. They discuss throat clearing, developing the conflict of man vs. nature, and provided a few copyediting tips.

 

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Show Notes

I have rewritten—often several times—every word I have ever published. My pencils outlast their erasers.
— Vladimir Nabokov

You can find more of Carolina's writing on her website.

Inline Critique

Episode 31: Sojourners, Science Fiction Critique

Description

Leslie & Alyssa critique the opening of Aaron Hubble’s Sojourners. They discuss the importance of emphasis within a sentence, precision in language, delaying backstory, and the development of great internal and external conflict. 

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Show Notes

A good copy editor smooths over the thousand jagged edges that pull a reader out of a story.

— Mindy Klasky

Want to read on? Check out the rest of Sojourners, or start with the first book in the series, Ash.

Inline Critique

Episode 30: The Ghosts of Koa: Dystopian SF/Urban Fantasy Critique

Description

Alyssa & Leslie critique the prologue of Colby R. Rice’s Ghosts of Koa. They discuss identifying repetitive syntax, seamless worldbuilding, developing intrigue, and finding beta readers. NSFW

 

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SHOW NOTES

Writing without revising is the literary equivalent of waltzing gaily out of the house in your underwear.
— Patricia Fuller

Read on

Ghosts of Koa is available on Amazon.

Check out Colby's website.

Beta Readers: What to Look For

Beta readers are important. They represent the first test of your story on a truly fresh audience. They provide the social proof you need to show that your novel is good enough, or the guidance you need to get it there. You’ll want to choose them carefully. While it’s tempting to call in a favor from family and friends, these people may not make for the best beta readers. See if your candidates fit the bill.

Ideal beta readers

Here is a list of qualities to consider in your beta readers:
Are they avid readers?
Are they well-versed in your genre?
Are they excited about the idea of being one of the first people to read your novel?
Do they have the skills and experience to provide you with meaningful feedback?
Do they have the objectivity to give you honest feedback? 

Where to find them

It may be that your friends and family yield a few people who will make excellent beta readers. Consider how many beta readers you will need. Will one be enough to validate your estimation of the story? Three? Thirty? The answer is really up to you. We suggest getting at least two beta readers to confirm that your story excels before you quit the cycle of beta read/revision/beta read. Will you submit the novel simultaneously to your beta readers and incorporate all of their feedback at once or will you submit and revise, submit to a new reader and revise, and so on? There is no right or wrong answer here; choose the approach that you think will best serve your novel. As you're starting out, we recommend the latter approach. Seasoned novelists like Patrick Rothfuss are known to put out 50 copies to beta readers simultaneously. 
 
Here are a few places to solicit beta readers:

  • Your writing or critique group
  • An online critique group
  • Writer friends
  • A Reddit forum for your genre
  • Beta Finder—see below

Beta Finder is a social media forum where authors and beta readers come together. You can check out profiles of readers and directly solicit beta reads from them, or post your story synopsis to garner interest from beta readers.

Ask and You Shall Receive

You don’t want to simply hand over your manuscript and say, “Tell me what you think.” Provide targeted instructions. Think about what’s important to you and what you want to find out.
 
Here are some of the questions I ask my beta readers: 

  • Does the beginning hook you? At what point are you really engaged with the story?
  • Where do your eyes glaze over or where do you lose interest?
  • Mark any sentence you had to read twice or that simply didn't make sense. 
  • What moments or phrases did you absolutely love?
  • Where did the story evoke strong emotion?
  • What was your overall impression of the book? How would you describe it to a friend?
  • Would you recommend this book to other people? Why or why not?

 Feel free to use these lock, stock, and barrel, or adapt them to create your own custom list of instructions for your beta readers.

 

Inline Critique

Episode 29: Rain: Thriller Critique

Alyssa & Leslie critique the opening of David L. Storm’s thriller, Rain. They discuss pacing and diction appropriate to the genre, as well as setting, and the introduction of conflict versus backstory.

 

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Show Notes

If you’re a writer, your first duty, a duty you owe to yourself and your readers, and to your writing itself, is to become wonderful. To become the best writer you can possibly be.
— Theodora Goss

Inline Critique

Episode 28: The Nutcracker King: YA Horror/Fantasy Critique

Leslie & Alyssa critique the opening chapters of The Nutcracker King, a novella by Eustacia Tan. They discuss genre, public domain characters, conflict, and deepening characterization. The novella is a sequel to the beloved classic The Nutcracker and the Mouse King by ETA Hoffman.

 

 

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Show Notes

When we refer to fantasy in the context of literature we are referring to stories that have certain definable elements that make the story unreal. There are many such elements. They vary from mythical beasts roaming an imagined world to natural settings in which animals take on human characteristics. There are recognizable conventions of fantasy, such as toys coming to life, tiny humans, articulate animals, imaginary worlds, magical powers, and time-warp tales. A story needs to possess only one of these features in order to be classified as fantasy. However, some great stories use a combination of fantasy elements. I tell my students simply this: a fantasy is any story in which at least one element cannot be found in our human world.
— Karlene McGowen

A good article: Conflicts and Characters

And another: Conflict--Beyond Arguments and Fist Fights

Get the full, edited version of The Nutcracker King here.

 

inline Critique

Episode 27: Her: Fantasy Critique

Alyssa & Leslie critique the short story “Her” by John Rose. They discuss the use of trademarked characters, establishing setting and point of view, and rapid fire dialogue. Alyssa gives her most emotional performance yet. Sorry about that.

 

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Show Notes

An article or two on copyright. 

Helen Sedwick's Self-Publisher's Legal Handbook

A consolation: as you perform the necessary editing, it really hurts. “I love that line, it’s such a neat bit, it’s brilliant” Brilliant isn’t actually enough—it’s got to be brilliant, and have a place there. And oddly enough, you cut it, but in a weird way, it’s still there. It’s gone but it hasn’t actually gone. It’s still there in your denser, and your richer and your better text. It’s in the texture. Books are palimpsests of your earlier drafts. So don’t be too disheartened because it’s gone, because it isn’t really. Or to give you some Confucianism: what the pruning shears remove remains on the tree in its enhanced vigour.
— David Mitchell

Inline Critique




Episode 26: The Messengers: Paranormal Mystery Critique

Leslie & Alyssa critique the first five pages of Anthony Greer’s novel The Messengers. They discuss passive voice, character engagement and sympathy, including telling (not repetitive) detail, word choice, and straying from POV. The genre is paranormal mystery. 

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Show Notes

Stuff You Missed in History Class Podcast Episode for August 12.

The Billion Dollar Spy by David Hoffman

A clear sentence is no accident.
— William Zinsser

Writership's writing prompt books.

Inline Critique

Episode 25: Gone: Suspense Critique

Leslie & Alyssa critique the first five pages of Stacy Claflin’s Gone, a Suspense thriller. They discuss how the shifting point of view and resulting irony (where the audience knows something the characters don’t) work brilliantly to increase tension. They discuss adding visceral detail and minor changes to improve the submission. 

 

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Show Notes

Want to read on? Get Gone on Amazon now. 

Check out author Stacy Claflin's website to see more of her books. 

Books to check out:

The Emotion Thesaurus: A Writer’s Guide to Character Expression  by Angela Ackerman and Becca Puglisi

Emotion Amplifiers by Angela Ackerman and Becca Puglisi

The beauty of emotion is that it can be manipulated by internal and external stimuli—circumstances that amplify what a character is feeling. Hunger or extreme heat can increase strain and deplete the body to the point where goals seem insurmountable. Stress can unbalance the most stable of characters, opening them up to raw emotion, rash decisions and, ultimately, mistakes that send them on a crash course with disaster.
— Angela Ackerman & Becca Puglisi

Inline Critique

Episode 24: The Feedback Loop: Cyberpunk/Techno Thriller Critique

Alyssa & Leslie critique the first section of Harmon Cooper’s The Feedback Loop. They discuss how the POV and tense works for the genre, repetitive sentence structure, and dialogue (and its punctuation).

Thanks for listening!

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Show Notes

Want to read on? Check out The Feedback Loop on Amazon. Book 2 in the series, Steampunk is Dead, is available for pre-order now (releases Spetember 23, 2015).

Also, be sure to check out Harmon's website to see the rest of his books and where they are available. 

To those who care about punctuation, a sentence such as “Thank God its Friday” (without the apostrophe) rouses feelings not only of despair but of violence. The confusion of the possessive “its” (no apostrophe) with the contractive “it’s” (with apostrophe) is an unequivocal signal of illiteracy and sets off a Pavlovian “kill” response in the average stickler.
— Lynne Truss

Inline Critique

Episode 22: Tristan: Science Fiction/Revenge Critique

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episode description

Alyssa & Leslie critique the opening chapter of Kindar Ra Harashal’s Tristan. They discuss repetitive sentence structure, passive voice, sentence fragments, and intrigue versus melodrama.

 

Show Notes

Creativity is allowing yourself to make mistakes. Art is knowing which ones to keep.
— Scott Adams

Here's a link to the book of writing prompts we mentioned at the opening of the show. (Click on the picture)

Here's how to axe your echoes.

And here's a list of common repeat offenders to root out in your writing.

 

Inline Critique

Episode 20: The Walrus of Death Urban Fantasy Critique

In this episode, Leslie and Alyssa critique the opening pages from Steeven R. Orr’s Walrus of Death. They discuss appropriate humor and how it can benefit your story, judicious pruning for a smoother reading experience, setting reader expectations with character appearance, and great hooks. 

Genre: Urban Fantasy

Word Count: Approx. 18,150

Published? Not currently.

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Show Notes

Even if your subject is a serious one, the subtle use of humor can both ease tension and provide a respite from difficult moments. I was recently hired to provide freelance assistance on a book about pornography-related problems. The authors felt I could make the subject less uncomfortable for readers by lightening things up here and there. As Eric Idle once wisely said, “Levity is the opposite of gravity.”
— Leigh Anne Jasheway