Carrying on from my last post, I said I'd answer any questions that came my way in the comments. I'm gonna take them one at a time and if you've got any questions, fire them into the comments or email me through the website and I'll do my absolute bestest to answer them on here in case anyone else finds what I have to say useful (no guarantees the 'useful' part will happen, you understand).
So, the person to blame for my latest War & Peace length Blog (go get coffee before you start reading!), is Jill who asked: Trish, Do you have a critique partner or a critique group? If you don't have one, how do you re-read your work and critique your own work? Sorry if this is something you've covered before! I know a lot of my writing needs work and I have a good friend who is an excellent writer and she wants to critique my work. The problem is she doesn't read category romance or much romance at all! She keeps telling me she can critique my work b/c "a story is a story" but I'm not so sure it's that simple. Part of me wants to go it alone, but another part of me is worried I'm being stubborn and just don't want to listen to a friend that's trying to be helpful.
Another GREAT QUESTION! The short answer is, no I don't. Didn't when I started out, either. Though in fairness, when I started out I wouldn't have had the faintest idea what a CP was. I had a real life (read as not a writer) friend who read what I wrote and told me what she thought. She wasn't 'critiquing' per-se, but she had read romance novels and she told me whether or not she liked it, if it made sense, and when she had questions about the story they made me think about what I could put in to answer those questions. It was a comment on wanting to know more about their past relationship that made me put in the flashbacks in The Bridal Bet, for example. Without that comment they wouldn't have been there.
When it comes to a critique partner I've swapped work with, I've only really done it with the one person and it wasn't something we did for long. Maybe a couple of books? It's been a while now so I can't remember - sorry! I knew her in passing from EHarlequin, read a competition excerpt she had written and saw something in her work I really liked, so I emailed her to ask if she wanted someone to read through it and we swapped WIP's so we could see things from both sides of the fence. It was an interesting experience and taught me several things about the way I work and the personality traits I need to warn people about but while I ended up with a really good friend out of the experience, would I try it again? No... but I hasten to add that wasn't her fault!
Now for the long explanation of why...And I'm going to play devil's advocate here and try to see things from ALL sides, so bear with me...
- The friendship clause:
Any time you ask anyone for advice on anything, you risk hearing something you might not want to hear. When you disagree with that advice, you risk hurting the other person's feelings. And no matter how we try to avoid it, the fact is, writing a book is personal. You have to care about what you're writing or it shows in your work. So when someone 'critiques' your work, it's the equivalent of being told your child is far from perfect, and while we may be fully aware of that fact, it's not always easy to hear. We can become defensive, may find ourselves molding the story to suit someone else's vision if we're 'people pleasers'; it's all very dependent on your personality and your relationship with the person doing the 'critiquing'. But the main thing to remember is the word critique.
critique (def.) ~ the act or art of criticizing.
You have to remember you are asking your friend to find fault. They're going to go looking for it, so you shouldn't be surprised - or hurt - when they do. How they report it to you will then come down to their personality type. Will they sugar coat it? Be blunt to the point where they may leave you in tears wondering why you ever thought you could do this in the first place? Will they be able to separate their personal preferences and reading expectations from the impartial eye they will need in order to allow your voice to remain yours? Will they be too nice to tell you what you need to hear and will you later resent that and blame them for not being honest with you when someone else points out the faults you realize should have been caught, if not by you then by your friend? Bottom line: Your friendship may not survive in the same form it had before you began. It's up to you whether or not you're both prepared to take that risk.
On the plus side: Dealing with criticism and filtering the advice of others to improve your work for the better, is good preparation for some of the things you will have to deal with as a professional writer. The second you send your work to an editor, they will critique it. If you get revisions you will have to take their suggestions on board and put your own twist on them to maintain your voice while doing what you've been asked to do to get the story as close to publishable as possible. The second you're published, the book will come under the scrutiny of reviewers who will critique it again and more than likely have comments you will take to heart. A bad review can be devastating - TRUST ME! And as if that wasn't enough there's the even more scary thought of thousands upon thousands of readers world-wide reading your work and a percentage of them not liking it (some may even hate it and worse still, feel the need to email and tell you they did). Writers need to develop a pretty damn thick skin. So working with a critique partner can help prepare you for some of the harsh comments that will inevitably come your way and crush your muse into a sobbing basket-case in the corner... in my case, with cake... lots and lots of cake.
- The 'Voice' clause.
When you're taking on board the advice of anyone, you need to remain true to who you are. The story is your vision, told in your voice, and while many stories are versions of stories that have been told time and time again in the past (and will be told time and time again in the future), the one thing that will make your version of the story different from the rest is your voice. NO-ONE has the exact same voice as you. Editors will frequently talk about how a fresh voice is what attracts them to a manuscript. Problems with the story itself - plot, setting, characters and structure - can be solved with revisions and the guiding hand of an editor, but voice is something that can't be taught, replaced or forced. So even if your CP is a fellow writer, their voice (and the way they would do things) isn't necessarily the same as yours. Problem is: They'll see things through their eyes and from their POV as an individual. That's human nature. What BOTH OF YOU have to learn is, when you're crossing the line into the territory of someone else's voice, you can't drown out their voice with yours. And this is a tricky one, particularly if you're unsure of your voice or it's still 'in development'.
The one alarm bell for me from Jill's comment would be the fact her friend isn't a romance reader. Writing, as we all know, has genres, and readers of a particular genre will have certain expectations of their reading material. If they're not a professional writer or at the very least aware of the reader expectations of the genre the story they are critiquing is aimed at, then they may be actively looking for - and be disappointed by the lack of - development in an element of the story that there simply isn't room for in a romance. This, for example, may be where the reader would be disappointed by the lack of a complex external plot versus the internal journey we have to focus on (as per the subject of the last blog). Add a 'people pleaser' author to a CP who isn't aware of the kind of things we discussed in the external versus internal dilemma and the author may take on board the advice their CP is giving them and add more plot than they need to get the job done. See what I mean? Yes, a story is a story and a good story, well told, will stand on its own merits, but there are different types of stories aimed at different types of readers and different authors with different voices.
This is where I think you have to have a long talk with a potential CP before you start sending them your work. You have to be up front about your expectations of the partnership and what you hope to achieve. For me, a CP should be looking for certain things when they read your story. Continuity would be a big one. If your hero was left handed in chapter three he shouldn't suddenly be right handed by chapter eight. If your heroine's mother was dead in chapter one she shouldn't be phoning her daughter for a chat in chapter five. Okay, so those are extreme examples, but you'd be surprised how many little details can escape you as you worry about the 547699834 other things you're sure should be in your story. It's a 'can't see the wood for the trees' scenario. Having someone there to look for those little details and point them out can be a HUGE help. It's one less thing to worry about, right? And that to me is the crux of a CP relationship. It's supposed to help, not bring additional angst your way. TRUST ME when I tell you angst is a given for ANY WRITER. We don't need ANY help in that department! So with that in mind...
On the plus side: Having someone to look for the little details when you can no longer see the proverbial wood for the trees can be incredibly helpful and prevent many of those moments when you mentally kick yourself for the stupid things you should have spotted. You'd be amazed how easy it is to use the wrong words - words that a run with a spell checker won't spot - there instead of they're or their. Then there are things like an unclear POV or who is speaking a particular line of dialogue; things that simply might not make sense to the reader. There are research details that might need checked, foreign language phrases that might mean something completely different to what you'd intended them to mean, grammar mistakes that might make you crazy if you're usually an active officer for the Grammar Police. None of those things have anything to do with your voice so there isn't any danger of a CP unwittingly trying to force their voice and personal preferences into your manuscript. In this case your CP becomes the equivalent of someone in a publisher's editing department; they are proof reading/line editing rather than making adjustments to your vision of the story.
- The Creative-Interruptus clause:
Again this goes back to having a clear idea of your expectations from a CP relationship prior to sending them your work. As is the case with different editors, different writers and CP's will have their own way of doing things. I've had five editors so far and while a lot of their working methods seem to follow a pattern, they are all individuals and as such some have been happy to work with a synopsis and then wait for the full MS, some prefer a phone conversation to hash out any potential problems they foresee from the synopsis before I start writing, some like to see a short pitch and then a partial; or a combination of some/all of those things. What they also do, because they're good at their job, is take into consideration what works for the author. Like every other relationship that involves two people, it takes two to make it work. It will also take consideration and understanding and a healthy dose of compromise so you can meet in the middle when necessary. It should be exactly the same for a writers relationship with a CP.
Take me for example. I suck at trying to tell the story I'm aiming for unless I write it. I suck at synopses, can be incredibly vague in a pitch (most of mine end with the line: Or something along those lines...) and if asked to explain it in a conversation I can go off at a tangent about things that might not make it onto the page. It's probably why I've never been able to adjust to using any kind of dictation program when I'm writing a story. My mind just doesn't work that way. The story goes directly from my brain to my fingertips and onto the page. The problem with this (apart from confusing the poor editor who needs to have an idea of what the heck she might get from me) is that even when adding a partial to the equation, the story I'm trying to tell might not be clear to the person reading it when they only have PART of the story. I recently likened it to seeing a scene in a movie out of context or without any knowledge of what comes next. The example I used was Notting Hill. In that film there's a scene where Julia Robert's character invites Hugh Grant's character to come see her at her hotel. When he gets there, he walks right into the middle of a press junket and as a result the heroine is 'off' with him and he's left floundering and wondering what the hell is going on. Cut the story there and look at it as a 'partial' and the reader might be left thinking 'what a cow! She's totally messing him about; keen one minute and giving him the cold shoulder the next'. Once we get the scene where she calls him back and apologizes for what happened, we understand what's going on. But if all your editor or CP has is a partial that ends with the press junket scene...
Here's the thing: I know the start of the story will change the further along I go and the better I understand my characters. If later on I change my mind about something or realize I need a better 'set up' for something that happens or can see how the reader might need a little more insight, I can go back and change it with more confidence than I had before. It's all part of the creative process to me. In the Most Common Romance Writing Mistakes series, I talked about the difference between left brain and right brain; how - simply put - the right brain controls creativity and the left brain is in charge of logic. When I'm writing a story it's RIGHT BRAIN activity. What a CP or an Editor does for me is LEFT BRAIN stuff. I shouldn't be thinking about left brain stuff until the creative part is done. Sending a partial or individual chapters for critique invites intrusion from the left brain. And that, my friends, can lead to a screeching halt in the creative process. At least it often does for me.
Again, it comes down to personality. I find it difficult to be interrupted with a critique or concerns at the partial stage of a manuscript (though obviously I've learned to compromise for my editor when she wants to do things that way). If something I know about the story isn't clear to my editor from the pitch and the partial I've sent, me bring me, it's something else to add to my angst. I also know were I to send the MS chapter by chapter for individual critique as I completed them, I would end up having to stop and explain myself. Every. Single. Time. I know what I'm trying to do. No-one else can see inside my head. But since I suck at explaining things, I run into problems. The obvious solution to this is to tell the story and THEN send it for critique. But that doesn't always work either, because sometimes my editor can catch something in a partial that would mean huge revisions and re-writes if I continued the thread throughout the story (been there, done that with that one too). And since we all have to deal with deadlines when we're writing for a living, if it saves time in the long run...
Since I'm a proponent of not making more problems for yourself than you already have to deal with, my advice when working with a CP would again be to discuss with them what works best for both of you, and agree to be prepared to discover that what you thought would work for you, might not, and you'll need to change things so it does. Forewarned is forearmed. That way no-one is upset when you change the 'rules'. Honesty and openness is the key. So...
On the plus side: Working with a CP chapter-by-chapter or a handful of chapters at a time can save a lot of re-writing further down the line if something is going wrong and you haven't spotted it because you're too close to the story. Since you may well end up with an editor who prefers to see a partial, once again this can be viewed as preparation for your professional working life. If you feel working chapter-by-chapter or a handful of chapters at a time is going to interrupt your creative process, you can agree with your CP that you'd prefer to send them the finished manuscript before switching from the creative process to the revision/editing process (but keep in mind an editor may not want to do it that way). Either way, you're learning how to take suggestions on board and how to filter through suggestions to put your own spin on them, which again prepares you for working with an editor.
- The Too-Many-Cooks Clause:
Remember not everyone has the same expectations from a story. And just as we talked about readers of different genres having different expectations from their reading material, the same holds true with readers of different lines and categories within the romance genre. If your CP's are authors too, you need to know what line/category of romance they're targeting and, if it's different from yours, you may want to know if they have a working knowledge of the line/category you're aiming for. Yes, the same rule of thumb applies: A good story, well told, is still a good story. But what if one of your CP's is aiming for Paranormals while another is aiming for Romance and you're aiming for Medicals or Presents or Modern Heat or... well, you see where I'm going here. The chances are if someone reads and is aiming for a Paranormal category they will be used to complex world building and mythology, with some of the most Alpha of Alpha heroes and heroines who can literally kick ass. Unless that person has a broad reading spectrum, they may not appreciate reading something from, let's say the Romance line. They may read your manuscript and feel the hero is too 'weak', the heroine too 'wishy-washy', that the world your characters are living in isn't drawn richly enough or there isn't enough detail and back-story and plot. That doesn't mean a Romance is 'less' or any easier to write, it simply means it's a different beast (and I'm not making judgments when it comes to a Romance versus a Paranormal either!). I'm not saying it's an impossible working relationship - I know of many critique partnerships from different categories/lines that work beautifully and very successfully; for both partners! What I'm saying is, it might not work for you. Only you can decide.
Another thing to consider, if you're all starting out as a group of unpublished authors, is how it will feel if one-by-one the members of your group begin to sell their manuscripts while you remain unsold. While you'll celebrate their success - of course you will, as you know they would for you! - it's only human that seeing everyone else succeed while you're still receiving rejection letters (particularly if they're people you've critiqued for and therefore helped along the road to success) may prove demoralizing. Remember: Angst is a staple diet in any writers life. In many ways I think the writing game could be likened to being back in High School and the associated paranoia we all experienced there. Is their cover prettier than mine? How come their heroes are sexy bad boys while I get stuck with the 'nice' heroes? If I don't have any awards weren't my books as good as everyone else's? A reviewer told everyone she hates me, does EVERYONE hate me now? And in this case, everyone in the class is smarter than me and getting better grades than me when we all study and work just as hard, what am I doing wrong?!
Now do we understand why I resort to cake so often?
On the plus side: With a group rather than an individual there is more than one POV. If seeking constructive criticism, but still doubting the advice you're being given, having more than one opinion can lead to the answer being in the commonalities; the things the majority of them see and feel needs work. With the inevitable differing personalities you'll find in a group of people, you may be more likely to find someone whose working methods and POV is better suited to yours. And what one CP may overlook, another may see. As members of the group achieve success, you may find rather than being demoralized, their success gives you hope and while they take steps into the world of publication you may learn a lot of valuable lessons from their experiences. You may even find a group that has published authors in it and then you get to pick their brains!
Some of the things I've said may give the impression I'm anti-CP. I just want to say here and now - for the record - that is NOT the case. Like I've said several times it all comes down to personality and what works for YOU.
Writing is a lonely game so having someone or a group of like minded someone's standing side-by-side with us sharing our successes and failures, understanding what it feels like and the work involved to achieve our dream, helps combat that sense of isolation. All of us end up alone at the keyboard with only our imaginary characters to keep us company. While isolated, it's all too easy to succumb to paranoia (and cake) while we obsess over every word we've written (while eating cake) and become more and more demoralized by any lack of success (and the fact we can no longer fit into last summers clothes thanks to the cake).The romance writing community is one of the friendliest communities out there and ALL OF US had to start somewhere so we've ALL had the same hopes, fears and 901 questions you do. Anyone who says they didn't is telling porkies! Take it from Trish.
As to the question of how I re-read and critique my work without the help of a CP. Well, the first thing I'll say is what I said to a good friend recently; I consider my Editor to be my CP. As far as I'm concerned, the buck stops with her - only SHE can judge whether or not the story I've written is suitable for publication. Having had several discussions with her over time, the agreement is I'll tell the best story I can and then leave her to do her job (which theoretically makes me the right brain and her the left in this partnership...). If I go too far 'out there', she'll rein me back in during revisions.
Any day now I might heed that advice and stop worrying so damn much...
Keep in mind from this point on, that what I've said and what I DO, aren't always the same thing... (you'll see what I mean by that as I explain my self-editing process)...
First thing I always look when self-editing is DOES IT MAKE SENSE? The way I can see the story in my head doesn't always translate onto the page so one of the first things I'll always do when I sit down at the keyboard to write is read the last chapter to ensure it makes sense and to see where I left off. That puts me 'back in the zone' and allows me to pick the story back up in a way that still makes sense. I won't fully EDIT A SCENE until I've finished WRITING IT. Right brain/left brain. While I think it's virtually impossible to turn off your left brain 100% of the time, there are times you have to ignore it and just get the damn words on the damn page. If I find I'm editing a scene over and over and over again, 9 times out of 10 I know I'm procrastinating. You can't edit a blank page, right? So if I find myself stuck and editing every word to within an inch of it's little life, I have to ask myself WHY?
The majority of the time - and with some experience under my belt - I know the answer to that question is there's something wrong. Maybe I left off at a place that's a dead end. If that's the case I need to go back and leave some unanswered questions so I have something to work with. Maybe I've had my characters do or say something that deep down I know they wouldn't have done or said. To be honest, the majority of the time I find it's a character problem. It means taking a step back in order to move forwards; sometimes that's a scene or chapter back, sometimes its a literal step away from the keyboard while I clear my mind and have a think about it. Sometimes - and pardon my bluntness here - I just have to write crap until I pick up speed again. Then, when I'm done telling the story, I go back and either fix or delete the crap.
But, I can hear you ask, those are all 'while writing' scenarios, aren't they? Isn't that going against the whole right brain/left brain thing? Well, yeah, it is. See the 'what I say compared to what I do' caveat. Over time, I've discovered self-editing a little as I go along (and before I start writing a new scene) can save some time in the long run. It can be reasurring, particularly when your confidence is low, to know that what you already have isn't crap followed by more crap with a lone scene that is only slightly less crap than the rest of the crap. It's the 'can't edit a blank page' rule meets 'press the delete key and hold it down until you get a blank page' fear. The trick is not to over-edit at this point. Because TRUST ME again - that one can lead to zero productivity in the word count while you spend hours moving one word up and down the page trying to decide where it 'fits' best (been there, done that too)
- Does it make sense? Yes, I'm there again. For me it's the first, most important rule.
- Does it need to be there? If it's something I've said somewhere else, do I need to say it twice, or worse still three, four or five times for my reader to 'get it'? If it's back-story is it absolutely, vitally necessary to what's happening in the here and now?
- Is everything clear? I know this will come as a shock to those of you who read this blog on a regular basis, but sometimes I can be too subtle. Something important may need a heavier hint earlier in the story to sew the seed in the readers mind. Then there are things like POV, who is speaking a particular line of dialogue, what hand is where and whose hand it is; making sure the reader doesn't have to mentally count on their fingers because one of the characters would appear to have three hands. It's an extension of the 'does it make sense?' question, but it's more to do with logistics than storyline. I'm notorious in my house for having a scene where a character has both arms around the other character and yet somehow manages to touch their face (see - three hands!). When I find those mistakes I slap myself severely. But sometimes I need to close my eyes, visualize what I'm aiming for and then look at the details with fresh eyes to make sure it's clear.
- Is it too dense on the page? I'm a dialogue girl given the choice so sometimes I have to look at this the other way round, but basically I'm looking for a balance between paragraphs of inner POV, description and physical movement broken up by dialogue. Too much of one, I may need more of the other. If I can't decide what should go, I'll go back to 'Does it need to be there?' and ask myself 'Is there another way of doing it?' or 'Is there somewhere else that could go?' There should be a flow to the story, which brings me to...
- Does it slow the pace down? If a scene has left a question to be answered and I answer that question in the next scene, I need to make sure I haven't walked the reader into a wall where they're left thinking there's nothing more to sort out before the characters could have their HEA. An answered question should be followed by another question until I'm ready to wrap things up. On the flip side I also have to ask myself if something has happened too fast. Sex scenes would be a particular source of angst for me when it comes to that question. Basically everything that happens has to happen organically, and at a believable pace that doesn't slow to the speed of an octogenarian snail or speed things up to the point where everything happens in the equivalent of five seconds of foreplay so the reader is left blinking and wondering 'what just happened, did I miss something?'.
- Would he/she really do/say that? In other words is everything they do and say in character? Usually these stick out like a sore thumb when the story is finished and I know them better. During the creative process getting it wrong can stop me dead in my tracks and I won't always know why.
- Are all of the threads in place from beginning to end? This is both a continuity issue and an issue of 'symbolism'. I don't always start the story with some kind of symbolism or specific 'theme' but they tend to pop up out of nowhere as I go along and then, in the end, I have to go back in and make sure it looks like they were there from the beginning. That way I look smart!
- Did I do something my editor told me not to do last time? In fairness, this one is something I seem to forget lots during the creative process. With some experience under my belt I know I need to focus primarily on my first chapters, my deep seated need to justify my hero's Alpha male tendencies and heroines who come across as 'argumentative'. If in doubt, I dig out old revision emails and read what my editor had to say to remind me what to look for. Having said all that, I still get the same kind of comments in revisions. We all have our weaknesses, right? The trick is to be aware of them. Without the aid of an editors voice ringing in your ears, my advice would be to think of the things that bug you most when you're reading a romance and make sure none of them are in your manuscript. Your story should be one you'd like to read.
- Were all the conflicts resolved? This has to do with all the questions I've asked throughout the story. Sometimes questions will be asked and answered from one scene to the next, sometimes it's a 'bigger question' that remains unanswered throughout the story, causing conflict and holding the hero and heroine apart until the end when they have their answer. Either way, I can't leave any loose ends. So I'll go looking for them and I'll either tie them up in a neat little bow or I'll yank them out, tidy up around them and pretend they were never there...*whistles innocently*
- Spelling and Grammar decisions tend to be the last thing I do. Running spell checker will catch the obvious ones you may have missed the wriggly red line under as you read, but it's worth keeping an eye out while you're reading for the there/their/they're problem the wriggly red line won't find. The wriggly green line that indicates a grammar problem in Word, I tend to be more selective with. I can hear gasps from the crowd. It's not that I disregard grammar, it's just there are times I choose not to change it to the way the computer would like me to. This is particularly true when it comes to dialogue. Simple fact is: People don't tend to check their grammar while they're speaking. The order they say their words in and the words they use are dependent on the character speaking them. So while I try not to over-use abbreviations and slang, I do use them. It's a small problem in the greater scheme of things because - at the end of the day - the copy editing department will make changes where they want them. The rebel in me will often change them back during line edits, then, when the book arrives at my door, I'll go looking to see how many I 'won'. I'm not advising you to do this, I hasten to add, it's just something I do. Let's call it a Trish-ism. I also know I'm watched closely for the number of 'damns' I use in a story; the majority of them magically becoming 'darn' when the manuscript gets to me for line editing. Wanna guess what I do with those? Sometimes darn just doesn't do it for me. Some I win, some I lose, c'est la vie. But because I know I have a tendency to over-use certain words, I'll go looking for them when I'm self-editing. Starting sentences with 'And' is a regular sin, over-use of ellipses, the word 'just', the word 'apparently' in this manuscript, apparently... Some words are quite simply, superfluous, so they gotta go.
And when I've done all that and am sick of the sight of the manuscript, I send it to my lovely editor and she points out all the things I missed...
Like I said, it all comes down to what works for you and your personality. So when Jill says: "Part of me wants to go it alone, but another part of me is worried I'm being stubborn and just don't want to listen to a friend that's trying to be helpful."
A big part of the final decision will come down to confidence. Personally, I think if you've never finished a manuscript the first hurdle is to sit down and write one from beginning to end to make sure you can do it. Once you know you can, if you'd like an opinion from someone with a fresh pair of eyes who isn't as close to the story as you'll be by the end, then make sure it isn't someone who will tell you exactly what you want to hear or smile and say 'it's great'. Hint: They'll tend to be family members and close/non-writer friends. If you decide to try a CP, make sure you have a long talk before you enter into it so you both understand what your individual expectations are and are both prepared to be flexible when it comes to disagreeing, seeing things from a different perspective, compromising and possibly deciding the working relationship doesn't work for one, the other, or even both of you. With or without a CP the romance writing community will remain supportive and answer many, if not all, of the questions you have; I think that's the most reassuring thing. It won't make a difference to an Editor if you do or don't have a CP either, their only concern is to get the best possible story. At the end of the day, a CP won't write the book for you. You'll always be alone when you're at the keyboard.
But a CP can end up as a lifelong friend as well as a work colleague. If you're both writers you'll have someone who 'gets it' in a way your family and friends just never will (unless they're w-a-y more understanding than my friends and family; e.g.: 'Is that book still not finished yet? You're on a deadline, that means I can come in for coffee and tell you all my problems for the next four hours, right?'). A good CP will be there on the roller-coaster ride you'll experience on the road to publication, they'll commiserate with you when it doesn't go well and cheer for your successes. Having said that, it simply doesn't work for some people. I'm one of them. But you might not be.
So, do you have a Critique Partner? Do you prefer to go it alone? Did you have a CP and it didn't go well? Have a great working relationship with your CP but then decide to stand on your own two feet? Are you part of a Critique Group? Like everything on this Blog, what I've said here is my take on things, you might see it differently or have an experience you'd like to share with Jill to help her make up her mind...
In the meantime, while I fight my way through yet another (hopefully temporary) block with my WIP, let me know if you have any questions or topics you'd like to see answered or discussed.
As to the little contest I had in the last Blog, the winner is... drum-roll please.... Becca! Guess that security word was a good sign, huh Becca? Let me know what you'd like from my current book list and email me your postal address through the website and I'll pop a signed copy in the post box for you.
Back to the grindstone I go...