How do you know if a critique group is for you or not? Is it better to be sharing work with folks who have similar literary tastes or those working on really different projects? Whose opinions should you be seeking out when you’re trying to strengthen a manuscript??
Adding onto this: what kinds of questions do you ask when you seek advice? Sometimes, critiques feel unhelpful and I don't know how to prompt them so they are.
Perseverance counts for more than talent, I hear. But how to know if you have the talent to persevere? Meaning, how do I know if the story I’m telling is worth telling? I feel driven to write it, and get some joy out of the process, but is the idea of getting published a pipe dream? I guess I’m asking, how do you know if you’re any good before you put your work out there? Did you always *know* you could write?
I've been working on the same project for years (I'm on draft 4). I know that I love and care about it, but recently when I look at the page I just despise it. I think it sucks and it makes me mad. I'm trying to tell myself that this is just part of the process, but I also don't want to ignore important feelings. Does this ever happen to you? What emotions do you listen to when looking at your own work?
How do you balance two career passions, especially two that are as all-encompassing as teaching and writing? Is an MFA the "right" way to pursue both simultaneously?
I wrote a reply to your email but I wasn’t sure if you received it . But now I see there are so many very interesting questions posted here so I’m guessing you need more time to answer them all? If you haven’t got my email please let me know and I’ll just post it here if that’s still ok?
I’ve basically written two whole (bad) (well, maybe not all that bad) books and am working on a third. The first two have serious plot problems that I can’t make myself try to fix. Any tips on how to make myself focus on at least one of the first two?
I’m a lover of italics, but one of my writing group friends--justifiably, I think--is questioning my consistency in using them. Any thoughts on using italics in a novel? Memory versus current, internal dialogue, etc.? I’ve been winging it in my first draft, but I’m sure she’s correct in pointing out that there needs to be some method to my madness. Thanks so much.
What questions should a writer be asking himself when he’s considering layering multiple points of view in his novel draft? Are there benefits to telling a story from multiple points of view, especially if the protagonist is unlikeable? And what are the pitfalls?
Thanks Rebecca, for the opportunity to ask questions.
How do you ensure that interiority/unspoken reactions don't interrupt the flow of dialogue? (And if you need examples of passages that aren't working, I have plenty!)
How do you know if a critique group is for you or not? Is it better to be sharing work with folks who have similar literary tastes or those working on really different projects? Whose opinions should you be seeking out when you’re trying to strengthen a manuscript??
Adding onto this: what kinds of questions do you ask when you seek advice? Sometimes, critiques feel unhelpful and I don't know how to prompt them so they are.
Please share some ADHD-friendly tips for how to "get in the zone," especially when you're only working with scraps of time here and there
Perseverance counts for more than talent, I hear. But how to know if you have the talent to persevere? Meaning, how do I know if the story I’m telling is worth telling? I feel driven to write it, and get some joy out of the process, but is the idea of getting published a pipe dream? I guess I’m asking, how do you know if you’re any good before you put your work out there? Did you always *know* you could write?
Do you think it’s worth entering writing contests?
Great question!
I've been working on the same project for years (I'm on draft 4). I know that I love and care about it, but recently when I look at the page I just despise it. I think it sucks and it makes me mad. I'm trying to tell myself that this is just part of the process, but I also don't want to ignore important feelings. Does this ever happen to you? What emotions do you listen to when looking at your own work?
How do you balance two career passions, especially two that are as all-encompassing as teaching and writing? Is an MFA the "right" way to pursue both simultaneously?
I wrote a reply to your email but I wasn’t sure if you received it . But now I see there are so many very interesting questions posted here so I’m guessing you need more time to answer them all? If you haven’t got my email please let me know and I’ll just post it here if that’s still ok?
How do you handle other people’s expectations of your writing? Any tips for tuning out those voices?
I’ve basically written two whole (bad) (well, maybe not all that bad) books and am working on a third. The first two have serious plot problems that I can’t make myself try to fix. Any tips on how to make myself focus on at least one of the first two?
I’m a lover of italics, but one of my writing group friends--justifiably, I think--is questioning my consistency in using them. Any thoughts on using italics in a novel? Memory versus current, internal dialogue, etc.? I’ve been winging it in my first draft, but I’m sure she’s correct in pointing out that there needs to be some method to my madness. Thanks so much.
What questions should a writer be asking himself when he’s considering layering multiple points of view in his novel draft? Are there benefits to telling a story from multiple points of view, especially if the protagonist is unlikeable? And what are the pitfalls?
Thanks Rebecca, for the opportunity to ask questions.
How do you ensure that interiority/unspoken reactions don't interrupt the flow of dialogue? (And if you need examples of passages that aren't working, I have plenty!)