When Edits Hurt

Hi all!

Last week, I had the wonderful opportunity to guest post on the blog of Jeni Chappelle, editor extraordinaire. I spoke about the agony of the edits.

As a writer that has been edited and an editor that has worked with writers, I’d like to paint you a picture.

You’re a writer, and you just received a massive developmental and line critique from the editor you hired. You open it up and gaze into the glaring image of comments and track changes that have made your once monochrome document into a rainbow of color. Your heart gives a little squeeze. Tears poke at your eyes. You haven’t even read what the editor has to say yet, but you see that rainbow and it evokes memories of literally every test you ever got back from a teacher to find it marked in red. Then you start reading the comments and suggestions. Some make you nod. But some cut to the bone. You want to hurl explanations at the editor. Couldn’t they understand? Why weren’t they getting what you were doing with your words! You’re caught somewhere between anger, sadness, and a sort of numb defensiveness, and you don’t know which direction best serves you as a writer.

And that’s okay. Getting edits should hurt.

To read more of this post, and to check out the rest of Jeni’s blog, click here.

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Writer In Motion

Graphic by K.J. Harrowick

While I was off the radar recently, I wasn’t completely dormant. I’ve been working on a wonderful new event, called Writer in Motion. The experience was a lot of fun for me as an editor, and even more eye opening for the writers involved. The project involved writing a short story based on a prompt and posting it in its most raw form. Then, again, posting it after self-edits, then again after using Critique Partners assigned from within the pool of writers working on the project. Then, finally, the stories were to be posted after edits by professional editors. I happened to be one of those editors, and I am so grateful to have been selected for this project. 

Below are the four posts about dealing with working with me (#TeamJustine) and the lovely stories that resulted.   

Shadow of a Doubt (A Complex Kid) by Sheryl Stein: http://www.wrekehavoc.com/2019/07/writer-in-motion-week-four/

Desert Wind by M.B. Dalto: https://authormdalto.wordpress.com/2019/07/04/writer-in-motion-the-final-draft-a-k-a-thank-the-gods-for-editors/

The Clementine by Megan Van Dyke: http://www.meganrvandyke.com/2019/07/05/writer-in-motion-the-final-draft/

Life and Death by Sheri MacIntyre: 
https://sherimacintyre.com/2019/07/06/wim-the-end/


And that’s just the four I worked with. Check out the rest of the amazing people that participated in this event, here. Who knows? Maybe you’ll find your new favorite author?

Dogs Can’t Meow: Why Even Fantasy Writers Need Research

As an editor, a writer, and a vocal member of the writing community, I hear a lot of strange rules that people make up about writing. As a matter of fact, our next CraftQuest discussion will be exactly about that (subscribe to our channel for updates)! One of my absolute favorite ones is this: If you’re writing fantasy, you don’t need to research. You’re writing about things that don’t exist in reality–why would you need to search for clues within reality? No. Just no. As a writer, you NEED to research. It’s a fundamental part of your work. And it doesn’t matter what you’re writing.

In real life, i.e. not your imaginary book land, there will always be things you don’t know. I know that the infamous “they” tell you to write what you know, but I’ve gotta tell you, if I wrote only what I know into every manuscript I work on, my work would be painfully boring. I’ve written about powered individuals who fight monsters. I’ve written about a girl who is best friends with Aphrodite. I’ve written about spiking your brother-in-law’s martini with coolant. I haven’t done a single one of these things, no matter how sorely tempted I’ve been. What have I done? I’ve been terrified for my life and I’ve been in chaotic situations. I’ve been friends with someone who wanted more for me, and I’ve been friends with someone who thought I should be something I was not. I’ve watched someone abuse someone I loved and wished for a way to free them from the neverending spiral of abuse.

So, how do you write about the things you do not know? You have to do research. You have to learn new things, understand different lifestyles, different histories. You have to dig deep. But what about fantasy and science fiction? You don’t have to do research for those, do you? I mean, they aren’t even real! Why would you need to research something when it’s all made up in your imagination?

Because the key to fiction is relatability. We enjoy books because we relate to their characters or their worlds on some intrinsic level. They reflect something about our world. Which means they have to, at least somewhat, feel similar to our world. On a planet where the physics are different? You have to justify that change. Create a world where someone is immortal? Why? How does their body work that is different from how ours do? You can’t just randomly have someone buried alive for a week and have them survive. You have to explain that they don’t need a whole helluva lot of food, water, and oxygen to survive. You can’t just have a dragon without wings fly through the sky. How does he stay up? Is some kind of magic at play? Without that, they wouldn’t be aerodynamic enough to swoop through the sky.

If your character rides a horse-like creature, you have to understand how to describe riding a horse and relate it back, because when we read, we base the adventures on our own somewhat similar experience. Your job, as a writer, is to come as close to capturing a relatable experience while still balancing that with the new and fantastical ways of the world you’ve created in a consistent fashion.

So how do you make sure your world feels relatable to your readers, even if you play with changing some of the rules? You take what you don’t already know and you…research it.

When I Grow Up

Logan as a model again. I asked what he wanted to be when he grew up, and this was his face.

“What do you want to be when you grow up?” We’re all asked a few hundred times throughout our childhood. And I realized that now that I’m, at least technically, “grown up,” nobody asks me what I want to be anymore. It’s an interesting thing that we’re all asked about our future vocation when we’re far too young to do much about it or to even know ourselves well enough to know what we want. And when do we lose that? When do we start to know ourselves well enough to know what we want for the rest of our lives? What’s the imaginary age that we decide what we’re capable of?

From the time I started school all the way up to my pre-teen years, I wanted to be an English teacher. Teachers are our heroes when we’re young, until we either fall apart under the pressure of expectations and testing and regimented thinking, or we realize they’re just human like the rest of us. I loved English in particular, and there was this amazing writing teacher in my school, Michael Shaw, who was incredibly quirky and pleasant and wasn’t afraid to be silly as hell if it made the kids in the school love to learn. Every year, he would dress up as Johnny Appleseed to teach us about Earth Day before people really cared about ecology the way they should. He was so engaging, that I quickly decided I wanted to be him.

That dream died when I realized I was decidedly not him. I was prone to outbursts of temper I was not good enough at holding back to work with tiny humans all day without being labeled as the monster teacher. I couldn’t even teach my full-grown adult of a mother how to use a computer mouse without losing my temper and treating her like an idiot. Not cool, I know. But I was journeying into teenagerhood with very messy role models and a burgeoning battle with depression and I wasn’t handling it well. And then I met Dr. Jonathan Dzik.

Doc, as all his students called him, took a chance on a moody student who purposely pressed his buttons for entertainment value. And, persnickety by nature, he had a lot of pushable buttons. While I actually attempted to drive him crazy, he actually attempted to guide my efforts to more useful things, like the school musical. He was right, I was a far better singer and actress than I was a teenage asshat. And just like that, I discovered a new answer to what I was going to be when I grew up. An actress and a singer, obviously.

The truth was, I wasn’t actually good at being a teenage asshat, my compassion and empathy often tripping me up and making me suffer after my various attempts at being an unfeeling wench. So, it wasn’t very difficult to be a better singer and actor than an asshat. Another truth? I sucked at acting. And while I still think I possess singing talent, that 1) often comes with a dancing requirement and I can’t do a choreographed step without tripping over myself; and 2) after a year and a half of auditions with professionals, I quickly learned that the industry was not ready for a singer who shopped in the plus sized section. I was in the era before Kelly Clarkson and Adele, when every singer looked like Britney Spears and were lucky if they even grazed the gorgeous sounds of Christina Aguilera’s vocal chops. I could have kept trying, but the constant requests to lose weight killed my self-esteem dead enough that I became determined to find a thing where people could value my brain and not my belly.

I had been writing since back in the days of Mr. Shaw, but I didn’t really think it could be anything. Mostly, I just wrote silly stories based on television shows. And then, one day, while I stood at the counter of the video store I worked at, stuck in the job-with-necessarily-flexible-hours I needed to go on auditions. It was an incredibly boring day. I was the only person on shift. So I picked up the pad I used for inventory lists, and started writing an idea that had been running around my head like a squirrel searching for a nut.

I’ve broken up with writing a few dozen times since then, but it’s always been a lie, and I always come back. My love for it birthed my intense desire to learn more about the hows and whys behind what works and what doesn’t. That led me to editing, to helping other people learn what will work best for their manuscripts.

That girl who thought she couldn’t possibly have enough patience to teach a room full of kiddies all about reading and language finds herself slaving over manuscripts written by authors of various skill and scope and helping to teach them what they don’t already know and guide them on the path to a more polished manuscript. And suddenly, I can hear that little girl’s voice, answering the question of what she wants to be when she grows up with a very self-assured “An English Teacher” and she doesn’t sound so foolish. Because she must have seen something within herself that the grumpy teenager somehow missed.

That kid wasn’t exactly right. She was close enough though, and it makes me wonder. I may not have known what I wanted to be, but I always knew I wanted to help others, to spread knowledge, to share. Perhaps we shouldn’t be asking children what they want to be when they grow up. I’m a legal secretary who writes and edits in whatever time she can scrounge up and that’s far from what I imagined. Perhaps we’d be better off asking who they want to be when they grow up. That, at least, lends them a greater chance of landing far closer to the mark.



Huge News

Hi all,

As of January 1, 2019, my editing service, The Inkwell Council, which is comprised of myself, my husband Ismael, and my sister-in-law Megan, will be merging with Craft Quest’s Maria Turead and Ari Augustine, to form a new powerhouse editing service. Our press release is below. We welcome and questions or comments you may have and hope that you’ll join us on this exciting adventure.


Writer friends! We have a very important announcement! 

As of January 1, 2019, The Inkwell Council and CraftQuest will be merging to form a new and improved CraftQuest! 

What does this mean for you? It means you have more choices for the optimum edit. 
When you visit CraftQuest’s website to request an edit, you can choose from five talented, high-demand editors. Each member of the CraftQuest team will have their own manuscript wishlist, so you can select the editor that best fits your story. Are you looking to edit a short story or a novel-length manuscript? We offer both. Select a first, second, and third choice editor to lower your wait time, or build a package of multiple editors for The Inkwell Council’s well-known critique style, in which the editors have the opportunity to discuss, and sometimes argue over, proposed changes to your manuscript. Need a query or synopsis edit? Need an aesthetic for inspiration? Need someone to Skype with you and hammer out the fine details of your manuscript? We offer those as well! All at competitive rates, so you don’t have to break the bank for a quality edit.

And if you’re wondering where The Inkwell Council’s monthly free three chapter edit lottery has gone, the answer is, it hasn’t gone anywhere! CraftQuest will continue to randomly select one manuscript per month to receive a free sample edit. CraftQuest’s video panels and short instructional videos will also continue in the new model.

All of this is provided by a tightly knit group of five experienced editors who love a good story–love to read them, write them, tell them, and edit them–and can’t wait to hear from you.

We hope you’ll join us on this journey. We can’t wait to see what great tales await. 

Editing And Why You Can’t Avoid It

In case you missed this weekend’s edition of Craft Quest, behold the archived video. This time around, we discussed the whys and hows of finding an editor with special guest star Jeni Chappelle.

Check it out here.