Dear Extra Squeeze Team, Writing about Family, Good Idea or Not?
August 31, 2020 by The Extra Squeeze in category The Extra Squeeze by The Extra Squeeze Team, Writing tagged as facts, Family, fiction, writing about family
Dear Extra Squeeze Team, I have a story I want to tell that is loosely based on family and friends. How do I tell my story without hurting anyone?
Robin Blakely
PR/Business Development coach for writers and artists; CEO, Creative Center of America; member, Forbes Coaches Council.
Begin by writing the complete story—beginning to end—the way you truly imagine it. Write with precision honesty without the fear of hurting anyone.
When done writing, evaluate what you have created. It is in the editing stage where you will objectively be able to decide how to share the story publicly without hurting anyone. If the finished story is meant to be fiction, you can go back and make sure physical identifiers that link to nonfiction people (like a skull tattoo on the left arm above a knife scar) are changed to protect the innocent or the not-so-innocent.
If someone has inspired you to recreate their character in a fictional world, rest assured your depiction of their internal thoughts, feelings, and motivations won’t be the tipoff that the character is loosely based on this real person; it will be the physical attributes that you choose.
Most people don’t recognize themselves in someone else’s writing unless they are told the character is modeled after them or the physical facts are eerily the same: age, body build, hair color, scars, name, physical location, profession, relationships with others, or facts from exact encounters are replayed in the work.
If the story you are telling is meant to be nonfiction, you have a different issue. In a biography or a memoir, you need to tell the truth as you know it, but you must also share your truth in a way that can be formally substantiated by the research of others. If you are afraid you might hurt someone by telling the truth in your work and you are naming names across your work, you need to consult an attorney before publication because hurting feelings may result in a lawsuit.
Jenny Jensen
Developmental editor who has worked for twenty plus years with new and established authors of both fiction and non-fiction, traditional and indie.
Cue dramatic music:
Deep Voice Over: The names in this story have been changed to protect the innocent.
That’s a start. Every writer works from what they know — even if they’re writing about elves and spaceships and unicorns. Our own experiences are what we draw on to launch our imagination. And it’s the real-life situations that often give a writer the rich soil for a gripping tale.
Just write the story. When you’ve laid it all out, step away for some distance then read it with fresh eyes to spot what might be so obvious as to be hurtful. If you find the narrative is obvious, even though it is based loosely on family and friends, then consider what the compelling idea is in this tale. What was the single most gripping element that made you want to write about it in the first place? Take that compelling idea and re-write from that prospective.
Or just start with that single compelling idea rather than with the cast of friends and family. Stories have a way of charting their own course and it’s very likely, that with that shift in perspective your story will be unique enough to withstand the scrutiny of sensitive family and friends.
Rebecca Forster
USA Today Bestselling author of 35 books, including the Witness series and the new Finn O’Brien series.
I have used family and friends for inspiration in many of our books. For the most part if I didn’t tell the individual who inspired me, they did not recognize themselves. If I did tell them I was going to do it, most of them were thrilled.
Then there came a time when I happily told my sister I had used our age differences as the foundational inspiration for my story. (she is fourteen years younger than I am and we were born on the same day). She was thrilled–until she read the book. She asked, “Is this really what you think of me?” To be fair she was the bitchy, beautiful sister accused of murder, and I was the smart but downtrodden attorney who saves her.
It had nothing to do with real life other than the span in our ages. Still, when she asked that question, I understood that there was a difference between inspiration and hitting close to home including the perception of hitting close to home.
The answer was, no, the character in no way was my sister. Their physical characteristics were the same, not their character.
What you’re talking about is even more delicate. You are going to be exploring actual things that happened to you and your family. If this is an honest memoir you need to be ready for the fallout. If this is fiction, you’ll need to be very skillful when you write to navigate the hurt feelings—or worse— that might arise. Ask yourself a) is this book is necessary to your well-being and b) if you are strong enough to face any and all consequences that will come with writing it. You are the only one who knows the answers.
H.O. Charles
Cover designer and author of the fantasy series, The Fireblade Array
Ooooh *eyes widen* “awaits gossip*
I think the only way to do that is to write under a pseudonym and don’t tell them about it. People aren’t always as stupid as we hope they are. They’ll figure out it’s them in no time!
Ever wonder what industry professionals think about the issues that can really impact our careers? Each month The Extra Squeeze features a fresh topic related to books and publishing.
Amazon mover and shaker Rebecca Forster and her handpicked team of book professionals offer frank responses from the POV of each of their specialties — Writing, Editing, PR/Biz Development, and Cover Design.
Dear Extra Squeeze Team, How Do I Keep My Narrative Voice Consistent?
July 31, 2020 by The Extra Squeeze in category The Extra Squeeze by The Extra Squeeze Team tagged as critique groups, Narattive voice, POV, Revising, The Extra Squeeze Team
Dear Extra Squeeze Team,
I have three MCs in my historical fiction novel; each one in a different country. A critique pointed out that the voice kept changing. How do I keep the voice constant while maintaining the three different cultures?
Rebecca Forster
USA Today Bestselling author of 35 books, including the Witness series and the new Finn O’Brien series.
This sounds like an exciting and intricate project. It also sounds like you need to stop and assess your critique group’s input. Having not seen the work it’s hard to make a judgment regarding your question, but I think the changing voices would be necessary for a project of this scope. So ask yourself if, in this instance, is your author’s instinct appropriate or your critique group’s caution?
I wrote a book called Before Her Eyes that had first person and third person parallel stories. The voices had to be different and I wrote them as such. Readers had no problem with this.
What I do question, however, is the suggestion that you have three main characters. I will accept they are the MC’s of their separate sections of the book. However (again an assumption) they will all come together at some point. There will have to be a conclusion to this book and that means one character will have the star turn.
I would be curious to know if you really have three MCs or one MC and some very, very strong supporting characters. I will refer back to Before Her Eyes. While each track had a main character the climax of the book showcased one. His journey overrode hers. Good luck.
Jenny Jensen
Developmental editor who has worked for twenty plus years with new and established authors of both fiction and non-fiction, traditional and indie.
Whose voice? I’m going to assume you mean the narrative voice—1st PPOV or 3rd PPOV. It would be critical for the voices of the three separate MCs to be different from one another but consistent within each voice. I’m not so sure it would be so for an overall narrative voice unless it is 1st PPOV. That makes the narrator a character as well.
If we are talking 3rd person narrator be clear in your mind about the intent and purpose of the narrator—is it the omniscient 3rd person? Then you have the advantage of a voice that knows everything from the thoughts of a character to where in time all the characters are. Think of it as your writerly inner voice and stick with that for the omniscient narration.
If you are using a 1st person narrator then it is a character with it’s own strengths and weaknesses and agenda. As with any character the author needs to truly know who that character is. Tapping into that understanding will keep the narrative voice consistent through out.
Ever wonder what industry professionals think about the issues that can really impact our careers? Each month The Extra Squeeze features a fresh topic related to books and publishing.
Amazon mover and shaker Rebecca Forster and her handpicked team of book professionals offer frank responses from the POV of each of their specialties — Writing, Editing, PR/Biz Development, and Cover Design.
Are All Editors Created Equal?
March 31, 2020 by The Extra Squeeze in category The Extra Squeeze by The Extra Squeeze Team, Writing tagged as children's book editors, Editors, Fiction editors, non fiction editors
Dear Extra Squeeze Team,
Are all editors created equal? Do you need one type of editor for adult fiction, and a different type of editor for a picture book?
Rebecca Forster
USA Today Bestselling author of 35 books, including the Witness series and the new Finn O’Brien series.
Not only are all editors are not created equal, there are many people are promoting themselves as editors even though their only credentials are that they like to read and they were good in English. So, before you spend a ton of money are a few things to think about.
1) Do you need a story editor, a line editor or just someone to double check for typos? Personally, I always need a story editor. My books are intricate, and I am known for twists and turns. A story editor* keeps me on track with red herrings, challenges me to push the envelope, and gives me perspective on the plot/story as a whole. I couldn’t live without this input.
2) Overall editors are hard to come by in my humble opinion unless you are willing to pay the price. It is no easy job to take a book from start to finish when you’re an editor. When I was traditionally published, I often had three separate editors, each charged with perfecting a different part of the process. If you’re looking for just that one person, make sure you are clear up front so they can price their bid accordingly.
3) An editor works for you and you should select one carefully. I tested a reader who swore she was an editor. She had found some things in a published book, and I was impressed with the detail and her attitude. However, when I sent her test pages (for which I paid her), she missed the typos and grammar issues that I purposefully left in to gauge her level of expertise. She was a great reader and had caught some mistakes, but she was not an editor.
4) When you find a great editor, it is a thing of beauty. Remember, some are literally brilliant* and the good ones will be able to work on any book in any genre. This is because they understand that individual marketplaces call for different sensibilities. They will read a romance differently than they read a mystery. If you find one of those, hang on to her/him.
*For transparency, the fabulous story editor I have worked with since my first book is my Extra Squeeze colleague, Jenny Jensen.
Jenny Jensen
Developmental editor who has worked for twenty plus years with new and established authors of both fiction and non-fiction, traditional and indie.
All editors are created as equally as all dancers, or singers, politicians or writers, but that’s not really what you’re asking. A good editor wears different hats, each for different genres. And then there are the specialists who focus their skills, most notably in academics, poetry and children’s literature.
I’ve worked on USAF manuals, fiction of all flavors, history and biography and business materials. I wore a different editing hat for each. A lot of the rules are the same, but each genre has a different intent and any useful editing must be done with that intent top of mind. The flow, pacing and characterization of a thriller are light years from those of business material (though maybe marketers should rethink that). Each of those hats comes with my confident understanding of the author’s intent so I can see any problems and add to the intended message. I think this is true of most editors.
I’ve turned down work twice. The first was a treatise on the physics of string theory. At least that’s what I think it was. I had no hat for this and so could offer nothing but a suggestion for a more suitable editor. The second was a children’s picture book. I love children’s books. I read the manuscript and tried to find a hat that fit. I soon realized this required a special knowledge, an insight into the reader’s mind and the author’s intent; knowledge and insight for which I don’t have a hat.
So yes, I do think that an author of a children’s picture book should find and build a relationship with an editor whose specialty is children’s lit. That doesn’t mean she would be better created, just that she was the best at dancing and singing to that tune.
H.O. Charles
Cover designer and author of the fantasy series, The Fireblade Array
I would say it depends on the experience of the editor. Some are quite capable of understanding the different styles and switching accordingly. Some are not. Look at the work they’ve previously done and see how it aligns with your own.
That said, sometimes an editor from another genre can bring a fresh perspective that could help you break away from the norm and set your work apart from that of other writers. Great books are often ones that cross genres and re-purpose other styles.
Ever wonder what industry professionals think about the issues that can really impact our careers? Each month The Extra Squeeze features a fresh topic related to books and publishing.
Amazon mover and shaker Rebecca Forster and her handpicked team of book professionals offer frank responses from the POV of each of their specialties — Writing, Editing, PR/Biz Development, and Cover Design.
Dear Extra Squeeze Team, Beta Readers?
February 29, 2020 by The Extra Squeeze in category Featured Author of the Month, The Extra Squeeze by The Extra Squeeze Team tagged as Beta Readers, HO Charles, Jenny Jensen, Rebecca Forster, Robin Blakely, The Extra Squeeze Team
Ever wonder what industry professionals think about the issues that can really impact our careers? Each month The Extra Squeeze features a fresh topic related to books and publishing.
Amazon mover and shaker Rebecca Forster and her handpicked team of book professionals offer frank responses from the POV of each of their specialties — Writing, Editing, PR/Biz Development, and Cover Design.
Do you have a question for The Extra Squeeze Team? Send them to us by using this handy link.
Dear Extra Squeeze Team, What Are Beta Readers and How Do I Get One?
Robin Blakely
PR/Business Development coach for writers and artists; CEO, Creative Center of America; member, Forbes Coaches Council.
If you want to write a better book, consider finding a few Beta Readers.
The big idea behind working with Beta Readers is to test drive your finished piece on folks who will provide you with valuable insights that could improve your work before it reaches the general marketplace. As an author, you know that the reading experience matters. So you want to discover how the book is perceived by readers when you still have the opportunity to tinker with the mechanics of the experience, if you need to. It’s like your book is a roller coaster ride–you are the engineer who built the roller coaster and who wants to make sure the experience of the ride is everything you imagined it would be. Your Beta Readers are going to take a ride and tell you how it feels.
Here are three rules to abide by:
- Pick Beta Readers who already like, love or super-love your genre. If you have a vampire book, you want somebody who has read a few vampire books to weigh in on how your story stacks up. In roller coaster terms, the ones who know the difference between the almost flat, slow-moving Wacky Worm and the fast and jaw dropping Coney Island Cyclone are very important to you. A bit of experience means they have context and perspective and can tell you more about the ride than folks who don’t know what to expect. That is not to say that only those with experience are valuable, but it is to say that it is important to know the level of experience of the rider before you consider redesigning your roller coaster to suit them.
- Stay focused on the Beta Reader’s experience. Ask Beta Readers about where and when things were good, surprising, or breathtaking. Ask about when and where things were too slow, too fast, too sharp or too unexpected. Focus on their experience and see if several Beta Readers say the same thing independent of each other. Then do the critical thinking needed to adjust your ride. In roller coaster terms, don’t expect the Beta Reader to know what caused the ride to be too slow or too fast. Some may intuitively know solutions but really those problem-solving issues are up to the engineer or the mechanic—not the rider. Readers have different preferences so listen and watch for the patterns that emerge as Beta Readers share their experiences with you. If everyone remarks upon the same twist or turn in the ride, take a closer look at that place. Don’t try to rebuild to suit every preference. This is your roller coaster.
- Define where the Beta Reader fits into your production process. Don’t confuse the role of the Beta Reader with the role of the Editor. The goals are different. You either want the Beta Reader to help you make the best book for the editor or you want the Editor to help you make the best book for the Beta Reader. Be clear about when the Beta Reader is most valuable to you and how you will use the info that you acquire. The big idea is that the first impression is valuable, and you can’t have a first impression more than once. Value that first impression and leverage it.
How do you find Beta Readers? Not everyone is a good Beta Reader. Ask people who love to read to recommend their friends. Make it known to family, friends and colleagues that you want Beta Readers, what the role will involve and when the readers will be needed. Be organized and clear and very grateful.
Rebecca Forster
USA Today Bestselling author of 35 books, including the Witness series and the new Finn O’Brien series.
A beta reader will give you objective input on your work before publication. These dedicated readers want you to succeed and they read extensively in your genre. I’m lucky to have a handful of trusted beta readers. They are smart, well read, and thoughtfully tell it like it is. I have been able to smooth over rough patches, deepen characterization and recognize pure silliness in my work because of them. Is love too strong a word for what they do for me? That being said, the wrong beta readers can shake an author’s confidence, undermine a vision and create chaos. One good one is worth five divisive ones. You can find them in critique groups, within your group of dedicated fans, or online in book groups. I found a wonderful article on beta reader etiquette.
This might help when you are trying to decide who you would like to invite into this very essential group: Helping Writers Become Authors Beta Reader Etiquette
Jenny Jensen
Developmental editor who has worked for twenty plus years with new and established authors of both fiction and non-fiction, traditional and indie.
Just like the software industry where a new, unreleased program – the beta version – is given to a group to test, writers ask a person familiar with their genre to read their manuscript. In both instances it’s a great way to work out kinks before publication.
A Beta Reader is not a critique partner. Those are the individuals who review your manuscript from a writer’s perspective. The Beta Reader provides a review from a reader’s perspective; their response more likely reflects how your intended audience will react to your story. That’s a critical perspective and gives the writer useful much useful fodder for improvement. Think of them as quality control.
Don’t confuse the Beta Reader with an editor. A professional editor, depending on the level of edit you use, will look closely at your manuscript for style issues, plot holes, inconsistencies etc. The Beta Reader simply tells you if the book was readable, or enjoyable or boring. Don’t expect them to tell you why or how it struck them that way, but value a reader’s opinion and use it when you reevaluate and revise.
You can find Beta Readers among friends or family members whose honesty you can trust. It’s good to reach outside your own circle, to a book club member for instance. The best place is to look to the writer’s community. Goodreads Beta Readers Group is great. My Writer’s Circle is an active writer’s platform also. Seek Beta Readers on Google and ye shall find.
Most writers work with more than one Beta Reader. Be careful to keep that within reason — info overload can paralyze your brain. And remember, this is a service you look to have donated; reciprocate by acting as a Beta Reader yourself. Every writer needs one or two.
H.O. Charles
Cover designer and author of the fantasy series, The Fireblade Array
A beta reader will read the early, pre-publication versions of your books and identify any errors, plot holes, or editing problems. They could be pretty much anyone with an interest in reading. There are good betas and not-so-good betas. I picked several from amongst my fans – the ones who were desperate to read the next book, but I made sure I stuck with those who were the pickiest! The more errors they found, the more they questioned me, the more likely I was to choose them to be betas for the next book. They are very useful people!
Sensitivity Editors, Yes or No?
February 21, 2020 by The Extra Squeeze in category Featured Author of the Month, The Extra Squeeze by The Extra Squeeze Team tagged as H.O. Charles, Jenny Jensen, Rebecca Forster., Robin Blakely, Sensitivity Editors, The Extra SqueezeEach Friday in February we’ll be featuring The Extra Squeeze Team.
Ever wonder what industry professionals think about the issues that can really impact our careers? Each month The Extra Squeeze features a fresh topic related to books and publishing.
Amazon mover and shaker Rebecca Forster and her handpicked team of book professionals offer frank responses from the POV of each of their specialties — Writing, Editing, PR/Biz Development, and Cover Design.
Have you a question for The Extra Squeeze Team? Send them to us by using this handy link.
Today’s topic for The Extra Squeeze Team came from this article in the Chicago Tribune.
Dear Extra Squeeze Team, Sensitivity Editors, Yes or NO?
Rebecca Forster
USA Today Bestselling author of 35 books, including the Witness series and the new Finn O’Brien series.
When I was a new author, I received a letter from a reader accusing me of being racist for using a certain adjective to describe a character of color. I was disturbed because I had offended the reader but upon reflection, I came to believe I had done nothing wrong.
I take my craft very seriously, choosing every word carefully to create a deeply visual reading experience and to express various points of view. If sensitivity editors become the norm, I will begin to second guess those words and the result will level a playing field that should be filled with intellectual and emotional obstacles. I believe it is better for a reader to close a book and to reject a writer’s work than to hobble the creative exploration of the world around us.
Jenny Jensen
Developmental editor who has worked for twenty plus years with new and established authors of both fiction and non-fiction, traditional and indie.
Part of editing is sensitivity — to the tone of the book and to the needs of the market. I’ve worked on manuscripts where the content is offensive. I ask myself, is that offensive to me, or to the market?
I’m not in the business of censorship; my personal sensibilities are not the point. However, as a story editor it is my business to point out when the narrative is boring, adds nothing, or employs language that is likely to offend the intended market.
‘Sensitivity’ is relative. To edit only for insensitive material blurs, to near invisibility, the line between editing for good writing and suppression of open expression. A good editor will point out insensitivity. It is up to the author to accept or reject the edit.
Robin Blakely
PR/Business Development coach for writers and artists; CEO, Creative Center of America; member, Forbes Coaches Council.
I am in the business of promoting author brands, so my interest in the trend of hiring a sensitivity editor is focused on the impact such a thing can have on author PR and book publicity. To cut to the chase, I’m not a fan—yet.
Here’s why… For many readers, a book can help reflect what is wrong in the world even if the author was not trying to paint the picture of the world that the book ultimately reveals. Straight up, I think most readers are smart and I know they deserve to be treated with honesty and extreme care. From a PR perspective, it is important to me that the reader always meets the real author—no masks. That means reader/writer relationships must be authentic to the writer and genuinely tied to the writer’s real work. Readers trust real and I trust that most writers are sensitive enough to choose words that accurately reflect their point of view and their reality.
If the author is heavily censored, overhauled, and cloaked by a sensitivity editor, then the reader is shaking the hand of a gloved stranger. From a PR-perspective, I have encountered authors who need a wake-up call regarding the impact of their voices and their word choices. Sensitivity editors can offer feedback that broadens the author’s awareness. Or, the sensitivity editor can enable the author to be masked in a way that is unfair to the buyer of the product.
Many years ago, as a young mom, I encountered a parenting handbook that had not been edited by a sensitivity editor. The medical expert was biased against me. The author’s words perpetuated the myth that infertility was a cosmic sign and that chronic childhood illness, particularly asthma, should be largely blamed on the parent, especially if the mom was a working mother. Luckily, I was not hurt by that book’s lack of sensitivity editing; in fact, I believe I was protected by the lack of it. The author’s own uncensored words made it easy for me to discern that he was not good enough to offer advice to me about my baby. I threw that book away and found a better author.
Today, when I am asked: “sensitivity editor or not?”; I like to say: “That’s up to you.” I remain on the fence. I don’t like censorship…but, I don’t like dumb stereotypes either—especially hurtful stereotypes about young moms, children with chronic illness, people of color, single parents, older adults, immigrants, communities of faith, families living in rural areas, or the inner cities, or the suburbs. When it comes to sensitivity, there are as many stereotypes as there are people. The real world is not very sensitive. As a reader and as a PR professional, I like to know exactly who wrote the words I am reading…and if you had to use a sensitivity editor, I would likely wonder why.
H.O. Charles
Cover designer and author of the fantasy series, The Fireblade Array
I think there are two types of offensive content in this context. One is where the author knowingly intends to shock or set a certain tone by using language that some/many will consider offensive. The second is unknowing offence, where the author – either through ignorance or accident – employs language/story lines that are unintentionally patronising to, or dismissive of, one group of people.
The sensitivity readers in that article seem to be dealing exclusively with the second type, and my initial response is: Great! An editor like that will help the writer produce a contemporary novel that speaks from the social outlook we should be aiming for today (even if we write historical fiction). On the other hand, this sounds like research the author should have already done themselves. If the author is writing about a specific group of people who use language in a manner that is different from their own, then surely that writer should have researched such a group thoroughly already? Perhaps employing a sensitivity reader instead of doing one’s own research is easier now we have the interwebs, and it involves less travelling, so there’s that(!).
But the downside is that the writer will be relying upon the opinion and outlook of **one** reader. I do not believe I represent ALL northerners (in the UK, that is), and while I may be worried about stereotypes of people from Yorkshire having low educational attainment, the next Yorkshire person might think it is even worse to be conflated with a Lancastrian! And then there are the Scots, who are technically northerners in the UK too, and could feel the term’s applicability to Yorkshire/Lancashire reflects the Englishman’s arrogant tendency to forget they exist…
Another thing worth considering is that the nature of offence changes over time, and in spite of our best attempts, no single book will ever be truly inoffensive to everyone. What we write innocently today may be judged differently tomorrow (let’s imagine, for example, that meat-eating or using gendered pronouns becomes abhorrent to future generations – how would that alter the way you write your characters?!). That’s not to say we should abandon conveying our own sense of morality in our novels, or rejoice in our own ignorance, or that we should aim for anything other than the best book we can write, just that we should be aware that pleasing everyone for all the years to come is impossible.
What do you think of Sensitivity Editors? Scroll down to the comment section and tell us what you think.
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