Hawk & Whippoorwill: The Little Reviews

(Part 1)

In Writing Fiction (The Writer, 1946), August Derleth — Wisconsin’s famous writer, teacher, and bookman — described a pivotal experience in his career, contributing to the small press magazines known as “little reviews”:

Within the first year of my initial publication in such little reviews … I had letters of inquiry about book-length work from the editors of such well-known houses as Simon & Schuster, Houghton Mifflin, Charles Scribner’s Sons, and Harper’s. Within the same period I had inquiries about short stories from magazines of national circulation which included Collier’s and McCall’s.

Cover of "Writing Fiction" by August Derleth

Britannica defines a “little review” as “any of various small periodicals devoted to serious literary writings, usually avant-garde and noncommercial.” They flourished after 1880 and throughout most of the 20th century, having much in common with contemporary journals distributed through amateur press associations and the burgeoning phenomenon of (especially science fiction-oriented) fanzines.

Today the bulk of this activity has moved to the Internet in the form of informal blogging and the posting of electronic reviews — for example, here at the Allied Authors website and at Amazon or Goodreads.

Derleth had shared his experiences years earlier in “A Salute to the Little Reviews,” appearing in the August 1941 edition of American Author. There he recalls that he once shocked a budding author with the advice that “he must expect to give a great deal of his work away.” He also emphasizes that avant-garde or other seemingly unsalable material “commercial outlets would not dare publish” is often “cheerfully printed by the little magazines.”

Derleth’s larger point is as follows: “Editors of all the best publishing houses watch the little reviews with care, and I do not think that there exists a first-rate beginner who has not received a letter from at least one publishing house after his appearance in a little magazine.”

He concludes with this prediction: “Contributions to the little reviews are like bread cast upon the waters; postulating only talent, and the ability to work and take criticism, they are certain to come back in loaves.”

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Many years later, in the lecture-essay “On Being an All-Round Bookman” (1971), Derleth validates all he had been saying with this recollection of his own earliest experiences as a professional editor:

Editing at Fawcett Publications involved considerably more than simply passing on manuscripts and conducting a column; it meant working with writers, revising manuscripts, writing something publishable when not enough material was at hand … I discovered that editing a little review — The Midwestern, published here in Madison in 1931, for all the difference between the professional and the amateur, involved pretty much the same kind of work, with the added task of improving circulation and helping to meet expenses.

Coming next “Hawk & Whippoorwill: Derleth’s Little Review” (Part 2)

John D. Haefele contributed this article.
© 2016. All rights reserved.


AAW author publishes 3 books in 1 day

The Renegade Chronicles' covers

 

A story that started in 1997 reached a happy ending on March 29, 2016, when author David Michael Williams published The Renegade Chronicles.

Comprised of three full-length, sword-and-sorcery fantasy novels (Rebels and Fools, Heroes and Liars, and Martyrs and Monsters), The Renegade Chronicles tells the tale of a ragtag team of rebels whose rivalry with the ruling knights becomes overshadowed by a hidden threat to the realm.

The twists and turns of the trilogy’s narrative parallel those of the project itself, which began as an English assignment at the University of Wisconsin-Fond du Lac when Williams was 17. He spent the next seven years writing and editing three books for the series—in between attending college classes, teaching English in China for a year, starting a family, and working as the entertainment writer/editor at The (Fond du Lac) Reporter newspaper.

Williams made a few attempts to find a traditional publisher for the series. However, he eventually moved on, working on other writing projects and honing his craft as time permitted. He always hoped to return to The Renegade Chronicles one day, but the manuscripts collected dust for ten years.

“I’m very fortunate to have been able earn a living with my writing,” Williams, a content specialist at BrownBoots Interactive Inc., said. “But while a career in journalism, public relations and marketing have allowed me to tap into my inner storyteller on occasion, I began to feel like I was neglecting my first love: fiction.”

Determined to put his dream of becoming a published author on the front burner, Williams spent the latter half of 2015 creating a business plan for his own independent publishing company and refining his early works. He formed One Million Words LLC in January 2016.

The Renegades returned to action in March when all three volumes of The Renegade Chronicles were simultaneously published in paperback and e-book editions. They are available at Amazon.com and the Kindle Store, respectively.

“Tackling all three books at once was maybe a little masochistic, but I wanted the entire series to be available on Day 1 so that people could ‘binge read’ one right after another,” he said. “Kind of like Netflix’s ‘House of Cards,’ only with magical swords.”

Whether the Fond du Lac author writes more novels set in the magical, medieval world of Altaerra will depend on the commercial success of the first three books.

“I have plenty of material to draw from, including a complete draft of a new Altaerra novel. Fantasy, as a genre, continues to be popular, so I’m hopeful my series will find the right readership,” said Williams, 37, who describes The Renegade Chronicles as being as epic in scope as the Harry Potter novels and George R.R. Martin’s “Game of Thrones” but with a PG-13 rating.

Even as he promotes The Renegade Chronicles, Williams is hard at work writing a science fiction series, The Soul Sleep Cycle, which is represented by the Sternig & Byrne Literary Agency.

Williams is a 1999 graduate of UW-Fond du Lac. In 2001, he received a bachelor’s degree in English with an emphasis in creative writing from UW-Milwaukee. He joined the Allied Authors of Wisconsin in 2005.

His website, david-michael-williams.com, features a blog about his fiction and the craft of writing.


The Mystery of the Milwaukee – Chicago – Sauk City Connection

Anything in Latin sounds imposing. For example, let’s take the name ‘Solar Pons’ itself. That’s Latin, you know. I looked it up. ‘Solar,’ meaning of, or pertaining to, the sun. And ‘Pons,’ meaning bridge. See what I mean? Doesn’t ‘Solar Pons’ sound a lot better than just calling someone a sun of a bridge?

—Robert Bloch, speaking on the occasion of the first annual Praed Street Irregulars Awards

Ray Palmer, a founding member of the Milwaukee Fictioneers (an antecedent of the Allied Authors of Wisconsin), was also a literary editor for Fantasy Magazine. Palmer wrote an article about the Sauk City Wisconsin writer August Derleth, which appeared in the March 1936 issue.

What exactly led to this event, I haven’t been able to determine. Even though both men made their careers writing, editing, and publishing (with especial interest in fantasy and science fiction), there is no record of correspondence in the “August Derleth Papers” housed at the State Historical Society of Wisconsin.

But Palmer’s article raises another topic of mutual interest: mystery fiction. Titled “August Derleth” (which already was a broad topic), Palmer covers primarily Judge Peck, a detective character Derleth features in a series of early novels—and mixed in is the hint of something else:

Late in 1936 will appear a book of [Derleth’s] poems, Hawk on the Wind. This will be followed by Still Is the Summer Night, a long serious novel, and Solar Pons of Praed Street, a book of short detective tales.

Praed Street’s Solar Pons and Dr. Parker are also detectives, Derleth’s version of the Sherlock Holmes and Dr. Watson team. His earliest stories with Pons and Parker are juvenilia—Derleth was a teenager in 1928 when he began—but he sold them to Dragnet Magazine and then to Detective Trails, Gangster Stories, and others. After this early spate, Derleth moved on to other types of writing.

And yet in 1934, he began to casually mention two Solar Pons novels he believed Loring & Mussey (who did issue three Peck novels) would publish. And perhaps one of these by 1936 had become the “book of detective tales” Palmer wrote; only L&M went out of business that year.

Derleth, unlike the unlucky publisher, was just starting; whenever the mood hit, he added stories to the Solar Pons series. Jack Chalker, in the “Fellow Travelers” section of The Science-Fantasy Publishers, nails what he did with:

Good fun if you like Holmes. Derleth was adamant these were pastiches, not parodies; a detective who took up when Holmes retired and imitated him precisely.

Many readers heard about Solar Pons for the first time in 1945 in Books from Arkham House, Derleth’s catalog of the Arkham House books he was publishing. That’s where Derleth first announced a new imprint:

The House of Mycroft & Moran has been organized to produce one book per year in a field in itself as unique as that of Arkham House—the genre of the off-trail detective story.

M&M’s first title would be In Re: Sherlock Holmes: The Adventures of Solar Pons.

August Derleth's "In re: Sherlock Holmes"

As author, editor and publisher, Derleth joyfully set the stage. He intimated that procuring these stories somehow involved Mycroft Holmes, the brother of Doyle’s own Great Detective, and Colonel Sebastian Moran, “the second most dangerous man [after Moriarty] in London”: thus, Mycroft & Moran.

Mycroft and Moran colophonPerhaps they were who approved the deerstalker colophon that artist Ronald Clyne provided.

And the “Baskerville” linotype used throughout…

The M&M books would be sturdy and cloth-bound—each to be introduced by reputable mystery-experts, drawing-room bookmen, including Vincent Starrett, Ellery Queen, Anthony Boucher, and Edgar W. Smith.

Year-after-year, it was all great fun!

Mycroft and Moran letter

What the Pontine canon would mean was revealed in publisher’s ephemerae I doubt that even maestro Don Herron has seen: The centennial Best Wishes from Pons to Holmes, notarized by Derleth himself as well as Mr. Mycroft and Mr. Moran–we can only guess at the number of copies sent out to amuse fans and friends.

But more was going on than could (at first) meet the eye. It was easy to miss how Derleth did more than pastiche Holmes precisely; he was also copying Sir Arthur Conan Doyle—precisely!

All was owned up to when announcing (in yet another undocumented piece of the publisher’s elusive ephemerae) the fifth collection of Pons stories:

Publication June 17 of August Derleth’s The Casebook of Solar Pons will round out what is perhaps the most ambitious venture in pastiche in the history of literature. For almost four decades the dean of Wisconsin writers … has amused himself writing fond imitations of the Sherlock Holmes tales, pastiching not only the tales, but the collections. The Casebook of Solar Pons brings to 56 the number of Pontine tales in print—the precise number of the Sherlock Holmes stories in short length.

More would follow. Watson hinted about Holmes adventures that Doyle never wrote. Derleth, on the other hand, completed more Pons stories that Parker knew of.

Derleth published his first Pons novel in 1968, the well-received Mr. Fairlie’s Final Journey. Doyle wrote four of his own about Holmes, so Derleth promised four. And we might’ve gotten all of them, had the world’s most prolific pastiche-writer not also been writing versions of Thoreau…

And Sinclair Lewis and Sherwood Anderson…

Also Edgar Lee Masters…

Robert Frost…

Plus little-known H. P. Lovecraft. (Aficionados were delighted when they learned Pons’ résumé includes this treatise: An Examination of the Cthulhu Cult and Others.)

In addition, Derleth did “serious” writing (even while publishing)—carrying on the Sac Prairie Saga and chronicling the history of Wisconsin. He passed away July 4, 1971, but posthumous publication of The Chronicles of Solar Pons raised his short-story total to 68.

Solar Pons acquired his own “Baker Street Irregulars,” fans based in California who organized as the “Praed Street Irregulars” (PSI), held meetings, and published newsletters. When the PSI held its first annual dinner award ceremony in 1968, Milwaukee Fictioneers alumnus Robert Bloch delivered the address. Bloch had moved to Hollywood from Wisconsin, the same year his famous novel Psycho was published.

Luther Norris and the group’s inner-sanctum “pontifical council” produced eight issues of The Pontine Dossier during the 1960s and more throughout the 1970s. In 1969 membership hit 600. In 1970 Derleth reported on a London, England branch of the PSI.

Derleth continued stoking interest. Besides the official Pontine canon (six collections and the 1968 novel), he published ancillary materials including A Praed Street Dossier in 1968—containing a brief essay “The Beginnings of Solar Pons.”

Working on behalf of the estate in the 1990s, Peter Ruber discovered unpublished Pons material, including what is most likely the early L&M novel! George Vanderburgh published these in 1998 as The Final Adventures of Solar Pons.    

So where does Ray Palmer fit in?

Though they worked in Chicago, Milwaukee, and Sauk City, Palmer, Derleth, and the other Fictioneers would stay in touch. Palmer especially had reason to: in 1938 he landed a job in Chicago as the editor of a handful of pulp magazines, including Amazing Stories and Mammoth Detective.

Derleth wrote a new Pons story, “The Adventure of the Norcross Riddle,” which was accepted by Ellery Queen’s Frederic Dannay, who was compiling The Misadventures of Sherlock Holmes, published by Little, Brown & Company in 1944.

Just the little things that few people ever know about, that change history…

Aspects of the deal involved the Chicago connection. Derleth’s “The Beginnings of Solar Pons” reveals the key role Ray Palmer played:    

Yet Solar Pons might have been forgotten, had it not been for another fortuitous circumstance … while discussing with Ray Palmer, then with Ziff-Davis in Chicago, the idea of a horror story anthology (later successfully published by Rinehart as Sleep No More!), I mentioned the possibility of a Solar Pons collection. Palmer urged me to put it together and, without committing Ziff-Davis to it, asked to see such a book with a view to publication.

With that added incentive and the promise from Vincent Starrett to write an introduction to the book, I went home and got to work to assemble a collection to be titled “In Re: Sherlock Holmes”: The Adventures of Solar Pons … I got to work and wrote new stories, while revising the old.

By this time, however … I was no longer so willing to trust any publisher with Solar Pons and, since I already had a publishing venture of my own … Solar Pons made his bow….

John D. Haefele contributed this article.
© John D. Haefele. All rights reserved.


AAW bids farewell to Dorothy Austin

Dorothy Witte Austin, a longtime Milwaukee newspaper woman and member of the Allied Authors of Wisconsin, died Nov. 29, 2015, at age 97 in Portland, Tenn.

Dorothy AustinDorothy was born Aug. 22, 1918, in Necedah, Wis., daughter of Emil Alfred Witte and Marie (Wake) Witte. She earned a bachelor’s cum laude degree in journalism from Marquette University in 1940 and was a member of Theta Sigma Phi (later the Association of Women in Communications) and an honorary member of Gamma Pi Epsilon.

On Oct. 3, 1953, Dorothy married widower Harry Russell (Russ) Austin, who also worked at The Milwaukee Journal from 1944 to 1982, ending his career as reader-contact editor. He died March 3, 1994.

Dorothy is survived by three children, Steve Austin of Portland, Tenn.; Richard Kirk (Sage) Austin of Rio Frio, Texas; and Christopher Austin of Milwaukee, Wis., as well as grandson Matthew Russell Austin.

In her 33 years as a journalist, she worked at the Catholic Herald Citizen (1940-’43), The Milwaukee Journal (1950-’67) and The Milwaukee Sentinel (1970-’83). Dorothy’s career included Red Cross staff assistant in South Africa and Italy during World War II (1943-’45); advertising copy chief at Gimbels department store (1945-’50); and assistant and associate director of Milwaukee’s popular Summerfest music festival (1967-’69).

She was a member of the Unitarian Universalist church in Milwaukee, Washington (D.C.) Press Clubs, Wisconsin Press Women, Allied Authors of Wisconsin (AAW), and the Women’s Overseas Service League. She was inducted into the Milwaukee Press Club’s Media Hall of Fame in 1985, the club’s centennial year — eight years before her husband received the same honor.

“Dorothy was a pioneer for women in journalism. She tackled many obstacles and even won the right to return to work after having a child — probably the first woman in the history of The Milwaukee Journal to do so,” said retired journalist Paula Brookmire, who covered the feminist movement in the 1970s for The Milwaukee Journal when Dorothy was writing about the same for The Milwaukee Sentinel.

“Dorothy was one of the most interesting, hard-working, wonderful women I’ve ever met,” said Maureen Mertens, fellow AAW member and freelance reporter for The Milwaukee Journal Sentinel. “Dorothy got the job done. No excuses. No complaints.”

“She was a warm and loving person with a zest for life that remained until her last illness,” said friend Rose Daitsman, a retired chemical engineer and minority-student recruiter who taught at the University of Wisconsin-Milwaukee.

The family is planning a memorial service in Milwaukee sometime later this year.


5 ways to support the writer in your life

Do you know someone who is committed to the craft of writing? Congratulations!

Maybe this writer is a relative, in which case you have destiny to thank. Or maybe you’ve befriended someone who has been bewitched by the notion that stacking words one atop another to build a story can be fun and profitable.

Either way, if you’ve spent any amount of time around a writer, you’ve probably already learned a few things about this admittedly strange species:

She might have told you how she came up with the idea for her story and why it’s awesome.

He probably dished on the details about his creative habits or writing schedule or preferred typeface.

Perhaps she shared her protagonist’s astrological sign.

(On second thought, maybe condolences are in order.)

Here’s the thing about writers. We spend a lot of time alone, populating a private world with imaginary friends—er, people—and thinking about topics reserved solely for storytellers and serial killers (e.g., how much midazolam would it take to knock out an average adult male?).

Eventually, we need to come up for air and share some of our “head happenings” with the wider world…or, at least, with our most-trusted loved ones. (That’s you.) And that means his success as a writer depends, at least in part, on you.

So whether they are still in the planning phase, frantically pounding out the first draft, or up to their elbows in edits, here are a handful of ways you can support any writers who cross your path:

1. Encourage them

In addition to a killer concept and mad composition skillz, thick skin, a strong spine, and enough patience to fill a Buddhist monastery, a writer needs encouragement to survive.

Oh sure, we might be able to sustain ourselves for stretches on ego alone, but eventually our confidence fizzles, and refueling is necessary. We need to be told that we aren’t wasting our time. These proverbial pats on the back can take the form of compliments. For instance, if an idea they share sounds cool, tell them. If nothing else, praise their dedication to what so often can feel like a hopeless pursuit.

Face-to-face chats are great, but don’t forget about Facebook and Twitter and wherever else in cyberspace your writer roams. Follow their author accounts. Like and share their posts. Comment on their blogs. If you engage them online, others might also!

(Yes, I actually wrote the word “cyberspace.” Apologies.)

2. Read their stories

Every writer needs readers. This is true even before a book or short story is published. Alpha readers, beta readers, pre-readers—whatever you want to call the role, you are a prime candidate for being the first eyes on a story.

You aren’t obligated to give a thorough appraisal of the piece, and no one should expect you to play the part of proofreader, but some feedback is appropriate. What did you like? What felt a bit off? Praise is always appreciated, and depending on your rapport, constructive criticism can be very helpful too—emphasis on “constructive.”

But never leave a writer hanging. You gotta give ’em something. And if you don’t make it to the end of the novel—or even the end of the first chapter—let the writer know. You can soften the blow by saying something like, “I don’t think I’m your target reader because this part didn’t work for me…”

3. Buy their books

Encouragement can come in a variety of forms, including financial support. In fact, one surefire way to show the writer in your life that you approve of their writing is by sponsoring them. Just ask my wife! (Insert rimshot here.)

Sure, there actually are donation/sponsorship websites like Patreon, but the most forthright way you can support your writer is by buying her book. Even if you still have an early draft on your e-reader from back when you served as a beta reader. And even if you don’t plan to read the thing cover to cover. Owning a copy of your writer’s book proves, definitively, that you give a damn.

It’s not just about the money, either (though that helps). The more sales a book receives on a site like Amazon.com, the better its ranking becomes; the higher the rank, the greater the visibility—and, therefore, the greater the opportunities for additional sales.

4. Review their books

5-starsHere’s where support starts to feel an awful lot like work: After you’ve read the book, write a review and post it on Amazon and as many other sites you can find that carry the book.

Actually, this isn’t as onerous as it sounds. No one expects you to write a college-essay style literary criticism piece that compares your writer’s story to Great Expectations. A few sentences will suffice, and if you have more to say, great! Be honest, but if there’s a lot you don’t like, maybe focus on the stuff that shined. Then copy and paste copiously around the web.

Why are book reviews important? People tend not to trust a book until it has 100 or so reviews. Sadly, it’s the quantity of book reviews—more so than the quality of what’s written in them—that prompts customers to put a book in their cart. Ten 5-star reviews just seem less trustworthy than dozens of reviews that average to 3.5 stars. Strange but true.

5. Spread the word

Whether self-published or traditionally published, any writer worth his carpal tunnel will spend time and money on promoting and marketing his book.

But a single writer can cover only so much ground. Even Jesus saw the value of sending His followers far and wide to share the Good News, thus increasing His geographical footprint. I’m not saying you have to quit your job and become a full-time missionary for your writer’s fiction, but if you come across folks who might like the novel, tell them about it.

Or, better yet, lend them a copy of the book.

Bottom line: Successful writers need readers, and as the friend or relative of a writer, you can make a significant impact on whether her attempt to “make it” as an author turns out to be a nightmare or a dream come true.

(Besides, haven’t you always wanted your name to appear on an acknowledgements page?)

David Michael Williams contributed this article (reprinted with permission from http://david-michael-williams.com).


Haefele will appear on Lovecraft panel at PulpFest

John D. Haefele, a longtime member of the Allied Authors of Wisconsin, will share his insights on the origins of the Cthulhu Mythos this month at PulpFest.

Poster for PulpFest 2015In celebration of the 125th anniversary of the birth of H.P. Lovecraft, PulpFest 2015 will present a variety of programming to honor one of the best known contributors to the weird tale genre. Haefele will appear on a panel titled “The Call of Cthulhu: The Development of Lovecraft’s Mythos” on Friday, Aug. 14. The program promises a lively discussion that explores the inspirations of the Cthulhu Mythos, the important contributions of Lovecraft’s contemporaries, as well as the various controversies and personalities surrounding the Cthulhu Mythos premise throughout the years.

Haefele will be joined by editor and scholar Don Herron; popular culture scholar Rick Lai; Professor Tom Krabacher of California State University, Sacramento; and Nathan Vernon Madison, an author and researcher for The Pulp Magazines Project.

Signed copies of Haefele’s Origins of the Cthulhu Mythos: A Look Behind the Derleth Mythos will be available at PulpFest. The book tackles numerous questions about the Lovecraft/Derleth controversy with fresh evidence and profound revelations. Unsigned copies can be purchased at Amazon.com.

PulpFest will be held Aug. 13 to 16 at the Hyatt Regency in downtown Columbus, Ohio.


What to do when writing tips contradict

The only constant when it comes to writing advice is inconsistency.

There are times when I wish someone would come up with a template for writing a creative, impactful and commercially successful novel in “Just 10 Easy Steps!” While there are no shortage of textbooks and self-help guides for writers, I fear there’s no one surefire way to become the best writer you can be.

At the end of the day, fiction writing is more art than science.

Since no two minds work precisely the same way, no two writers are going to approach planning, plot structure, character development, research, writing, and editing exactly the same way. A method that works for one author might result in utter failure for another. A customized methodology, then, is key.

Who am I to question the wisdom of Stephen King? Just another writer trying to figure stuff out. | Photo credit: Shane Leonard

Who am I to question the wisdom of Stephen King? Just another writer trying to figure stuff out. | Photo credit: Shane Leonard

In the first post on my blog, “One Million Words,” I vowed to abstain from stating “absolute rules that govern writing as a craft or business.” Mostly, I didn’t want to come off as arrogant, but there’s a more pragmatic reason for my promise:

There aren’t any absolutes when it comes to writing.

That’s not to say there aren’t valuable tips to share. (I like to think that this blog contains a helpful nugget or two for people careening headlong down the same crazy path I’ve chosen.) And there are plenty of overarching platitudes that seem applicable to most people.

Yet I have to believe that despite how many successful writers have declared, “You must read voraciously in order to become a better writer,” there’s a genius out there somewhere who penned his or her masterpiece in a vacuum.

Anomalies aside, some so-called writing rules outright contradict others. Never was this more apparent to me than during early email correspondences with a new member of the Allied Authors of Wisconsin, who sought my perspective on several conflicting pieces of information—including the sage words of one Stephen King.

The article he referenced included excerpts from King’s memoir, On Writing, which I had read and enjoyed many years ago. In the article, King says writers should “write with the door closed; rewrite with the door open.” The article further paraphrases the point: “You should maintain total privacy between you and your work,” while composing the first draft.

This wasn’t the first time the aforementioned aspiring author had encountered advice dissuading him from sharing his partial manuscript with others. And while I can agree that there are some disadvantages to prematurely exposing one’s story to the critics, I believe the benefits outweigh the drawbacks.

In “Why writers groups still matter,” I outlined how soliciting feedback from fellow writers can help an author and his or her book. Of course, one could wait until he or she is finished with the first draft before joining a writing workshop, sending it to beta readers, and so forth.

So why not acquiesce to King’s (and many others’) point of view? Here’s what I told my friend via email:

I don’t know if I’d say receiving critiques on your work prior to having finished a first draft is detrimental. I can see pros and cons.

Some pros include getting an early understanding about what the readers are latching onto. If their attention is focused on the right stuff, you know you’re on the right track. If they are getting distracted by minor details (or characters), that gives you some ideas not only for how to revise those first few chapters, but also how to treat such things moving forward.

I will say, however, that I think it’s a mistake to perpetually revise chapters. I’ve seen it happen time and time again where writers can’t get past the first handful of chapters because they’re constantly revising until it’s “perfect.” And getting feedback from alpha readers adds more feedback, so, yeah, there’s a higher chance that a writer will want to revise/redo/rewrite instead of move forward.

At Allied Authors meetings, I take notes on the critiques for every chapter I read. But I never work on those chapters immediately after a meeting. In fact, I don’t review them until I’m ready for Draft 2. (Though I will keep comments in mind in case they are relevant for upcoming/unwritten chapters.) I’m a firm believer that it’s better to get a complete draft done before trying to improve on anything. It’s probably because I’ve seen too many people frustrate themselves by trying to make Chapter 1 flawless before moving on. I don’t think I’ve ever seen that work.

Is a completely MS review preferred? Absolutely. …it’s difficult to critique portions of a novel (due to a lack of context, etc.), but imperfect though they may be, I continue to find value in chapter-by-chapter reviews.

So who is right—Stephen King or I?

Or both?

In actuality, I’m not disagreeing with King on a philosophical level, but the devil is in the details. And even if King and I likely agree that rewriting Chapter 1 ad nauseam is a mistake, there are probably those out there who make it work. Probably, there are folks who never get a second opinion on their manuscript before sending it off to an editor or self-publish it and let the public decide whether it’s worth purchasing.

Writing is a complex activity. What’s ideal for one person might not be remotely achievable by another. (Sorry, Mr. King, but as much as I’d love to knock out a first draft of a novel in three months, real life tends to get in the way.)

Every writer must determine his or her own path from conception to composition. There’s a heck of a lot of alphabet between Point A and Point Z. I suppose the only thing that matters is making it to “The End” without getting lost among all of the warnings along the way.

David Michael Williams contributed this article (reprinted with permission from http://david-michael-williams.com/2014/07/22/what-to-do-when-writing-tips-contradict/).


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