Plagiarism sources

The first one I found referenced on the CHE fora is a flowchart of levels of plagiarism–though not all the academics agree it is accurate. I linked it because it is a place to start talking.

The second one is an online test for recognizing plagiarism from Indiana U.

Another plagiarism source–which I cannot watch because my flash is out of date–was recommended to me. It is at Northern Arizona U.

Writing for Journal Publication

One of my colleagues has requested that several of us come to a graduate class and talk about our experiences with getting published in journals.

To prepare for that, I went back through this blog to look for relevant posts. This post contains some distilled information, some links, and some ruminations based on the discussion in the class.

In November 2009, about a year after I started trying to get published, I wrote a post on my publication/rejection record for my most recent work.
5 papers submitted, 2 accepted, 2 rejected, 1 pending
I try to be very careful in placing my work where it is most likely to get accepted. Even with that, my acceptance rate was a 2:3 ratio. (There were also numbers for creative pieces included in the original post.)

From my CV (and old CVs):
11 journal articles published
6 book reviews
2 chapters (2 others were accepted and not published)
(3 encyclopedia articles accepted but never published–Based on my experience, then, encyclopedia articles are not worth doing.)

At one point I wanted to include on my CV a section labeled “Not Published Due to Recession.”

My experience:
In the last 15 months…
Writing about Writing
Publications and Research
Working on a Revision
4 Ways to Write a Paper in a Hurry

Successful academic writing information:
Good Advice for Successful Academic Research and Writing
Style in Academic Writing
Don’t Get Too Attached

Good advice:
On Publishing
On Writing Book Reviews

Relevant links:
330-word guide to writing book proposals
the down-and-dirty article

Sources for CFPs:
UPenn
H-Net

I have also written 2 other articles I didn’t submit. One would probably have been published, but the other probably would not have been. Why didn’t I submit either one?

The first one was on a topic I was (at the time) thinking I needed to quit working on. I should still have submitted the article. I eventually revised the work and submitted it to a journal. If I had sent it in at the time, however, it would already be published, whereas right now it is in the submission process.

The second one was written for a presentation and the possibility of publication. However, for it to have been worth being published I would have had to have done a lot more work on it and it was a “niche” topic that was interesting to the convention I presented at, but less likely to be publishable. It also wouldn’t advance the work I want/need to do, so I am letting that go.

The work I have already put in on the second possibility is not worthless, however, because the process of considering how I could get it done in the limited time available to me (and researching what work I needed to do to make it “complete”) gave me ideas and resources for work that is within the purview of my interests and area.

I have written at least 17 other full articles that were not accepted. Unlike what I should have done, what my colleagues said to do, I have not looked for other places for those to be accepted and gone full-bore forward with the work. Having sat in on the class, I will go back through those works and consider if there is potential in the works–both are other publication sites possibilities and will this work that I’ve already done serve to advance the work I am already doing and will continue to do as I have narrowed my interests/focus.

I hope that this post offers a window into writing as academics because writing is such a large part of the work.

Conventions (Cons): Introduction

For this chapter, I am looking at a particular performance at conventions as a rhetorical ars memoria. To do that, I also have to make sure that the readers generally understand what a convention is and how it works.

steampunk_icon_for_Safari_by_yereverluvinuncleber-d4zhax0What are Cons?
“Fan conventions, often hotel-weekend affairs involving parties, panels, guest speakers, and appearances by celebrities.” (Cheryl Harris, Theorizing Fandom 8)

“a con is a multifaceted environment with many separate events going on at the same time under the con’s general aegis” (Brian Ruh, Adapting Anime 166)

“the con is a gathering site of a kind of community that distinguishes between existing members and those who might want to become members. In very broad terms, then, there are two different types of audiences to which one can perform at a con – those inside the subculture and those outside” (Ruh 167)

Where did Cons start?
“Science fiction fandom evolved out of the interaction between readers in the letter columns of these magazines [Amazing Stories and onward]. Fans began to publish fanzines. They began to hold SF conventions, then an annual Worldcon, out of which came the Hugo awards. A subculture accreted itself around the kernel of the SF genre” (20).
Spinrad, Norman. Science Fiction in the Real World.

How do the cons work?
“the physical landscape of the community plays out in the mobile geography of the convention calendar. We will see how new fans and new generations are socialized through personal contact, structured interactions, and ritual-like events.” (Bacon-Smith 10)
Camille Bacon-Smith Science Fiction Culture.

Who goes to cons?
Historical view:
Fans are integral to the way contemporary SF operates: numerous fan-created magazines, websites and conventions generate much of the energy on which the continuing vitality of the genre depends. Yet the ‘fan’, and especially the ‘science fiction fan’, has a very low cultural currency today. He or she exists in a cultural climate of low-level ridicule and dismissal; thought of as obsessive cultists, unskilled at social interaction, physically unattrac- tive and unhygienic, outsiders, nerds; to instance a cultural icon with whom many people will be familiar, the comic book store owner in The Simpsons cartoon series. Behind all this negative social construction (which, as with any derogatory stereo- type, relates less to reality and more to prevalent ideological fascinations and anxieties) is the twofold baseline perception: that fans are ‘fanatical’ (the former term, of course, derived originally from the latter) in some dangerous sense; and that fans are passive receptacles of consumer culture. (Roberts History of Science Fiction 17)

More modern/realistic view:
Science fiction is a community, not an elite. Fans more often than not embody a huge, detailed and working knowledge of their genre, and can locate new texts within a framework of intertextual reference and connection with impressive facility. And the trope of ‘the fan’ embodies not only actual humans who follow SF, but the position of the new SF text (novel, film) in respect of the whole genre, and – as I have been arguing – in an ideal sense the relationship (active, engaged, creative) between ‘SF’ and science that underpins the definition of the genre this chapter has sought to sketch. (Roberts History of Science Fiction 18).

How many people go to Cons?
cons can be quite large as well – in 2004, Anime Expo and Otakon, the two largest anime cons in the United States, had official attendance figures of approximately 25,000 and 21,000 people respectively (“Otakon 2004 Statistics” 2004). This is a significant increase from anime cons that took place less than ten years ago; for example, the attendance at the 1998 Anime Expo was 4,745 people (Patten 2004: 123), meaning that attendance at that particular convention has increased fivefold in six years (Ruh 165)

RMCF (Rhetorical Memory Cosplay Fandom)

Transnational Fan Communities (2): Anime

Annett, Sandra. Animating Transcultural Communities:?Animation Fandom in North America and East Asia from 1906–2010. Thesis. U of Manitoba, Winnipeg, Canada. 2011. Web. 6 June 2014.

steampunk_icon_for_Safari_by_yereverluvinuncleber-d4zhax0He [Azuma Hiroki] calls these elements ?moé elements (42), because they inspire in otaku the complex and difficult-to- define emotion known as ?moé (??). Literally denoting a plant‘s budding or sprouting, moé indicates the intense sensation of mingled protectiveness, empathy, and attraction towards a fictional character or image felt by otaku. Moé elements are the appealing, codified, recurrent aspects of anime characters, plots and settings that evoke such feelings. (Annett 276)

The ahoge element is so integral to the series that women who ?cosplay or dress up as Hetalia characters will take pains to create wigs or extensions including just the right curl. And no wonder: the inclusion of such elements is the inclusion of fans themselves, who can both call a character such as Canada ?moé or say ?I am moé for Canada. (Annett 277)

They—we—were forced to confront some very difficult questions, questions which often trouble me personally as an anime fan and scholar. What do you do when a media work you love provokes behaviours you cannot always condone? (Annett 304)

More generally, how do you remain a ?fan of something that you can see is problematic, yet cannot help finding appealing? (Annett 305)

The point is not that fans should opt out of the media or perpetuate cycles of silencing by calling for bans on texts they find offensive. It is rather that they need to engage with the most problematic elements of texts and of their own readings of them self-consciously. In practice, many online debates still descend into unreflexive recriminations and insults. But such debates also make possible different kinds of re-imaginings across difference. (Annett 307)

referencing:
Azuma Hiroki, ed. 2007. The ideology of contents: Manga, anime, light novels. [Kontentsu no shis??manga, anime, raito noberu]. Tokyo: Seidosha.

RMCF (Rhetorical Memory Cosplay Fandom)

Transnational Fan Communities

steampunk_icon_for_Safari_by_yereverluvinuncleber-d4zhax0Annett, Sandra. Animating Transcultural Communities: ?Animation Fandom in North America and East Asia from 1906–2010. Thesis. U of Manitoba, Winnipeg, Canada. 2011. Web. 6 June 2014.

These are the beginning of my notes from this text. For some reason, and I do not remember what it was, I separated my notes from this text into several sections. I’m going to post them here that way, so that, if there was in fact a good reason for it, I may remember it.

Even if I didn’t have a particular reason except length of notes, posting more readable lengths of notes is probably a good idea.

[I]t is in the intersections and conflicts between different uses of texts that transcultural fan communities are born. (Annett ii)

scholarly resources of globalization theory, which is primarily concerned with the kind of global exchanges and interconnections John Tomlinson describes as ?complex connectivity? (1999, 2). (Annett 2)

duelling banjos of oppression and resistance (Annett 3)

[T]he activity of a transcultural animation fan community allows the different perspectives of participants, who may not be equally positioned in terms of language ability or social status in a given collaboration, to come into conjunction—even into conflict—through a many-to-many forum of communication. The simultaneous mutuality and asymmetry of the engagement, as I will demonstrate, is what sets transcultural animation fan communities apart from earlier modes of animation fandom. (Annett 4)

How much agency do individual viewers have in their readings and social uses of texts, and how much are such uses directed by the institutional and economic structures of animation production and distribution? (Annett 9)

these theories of postmodern nostalgia is that in both ?imagined nostalgia? and ?imperialist nostalgia, there is an implicit promise that ?the commodity will supply the memory (Appadurai 78) of what was never lost, or that the ?loss is revivable? through pleasurable consumption (Iwabuchi 175).

method
I found participating in fan events to be both personally fulfilling and to result in more successful recruiting. For instance, when attending the fan conventions Ai- Kon in Winnipeg and Comiket in Tokyo, I joined in the anime subcultural practice known as ?costume play or ?cosplay?: that is, dressing up and taking on some of the attitudes of one‘s favourite anime (or manga, or game) character. Cosplay, as a social performance that allows fans of certain works to recognize each other instantly, greatly facilitated the recruiting process. (Annett 17)

RMCF (Rhetorical Memory Cosplay Fandom)

Oldest, Largest SFF Collection

Jeremy Brett: SFF archivist
Lauren Schiller: cataloger

Cushing Library at Texas A&M Library, now special collactions
Cushing Library built in 1930, 2nd oldest building on campus
in the 60s and 70s built Evans, regular library

22,000 linear feet of archival manuscripts
200,000+ books
250,000+ photographs
100s of art

military collection is also a large collection at Cushing
literature is another collection emphasis, so WWI and literature

Cushing M-F 8 am to 6 pm, can make arrangements to be open on weekends, have occasionally made arrangements to show in evenings
For grad students, you can arrange.
For a single person, you can arrange to look at stacks. If you make arrangements early and show reason.
NOTE: Arrangements need to be made a few weeks in advance.

Reading room has been restored.

Brought books that were picked up at street fairs and old antique shops in Europe for the purpose of being shown and handled. This is a teaching collection. You are allowed to touch and pick them up.

Cool Stuff
Starting with non sff

Playing cards from 1577—German set: leaves, hearts, acorns, XXX—didn’t have numbers on there
Interesting thing about cards, rare to have complete sets—This is only library with complete set.
1561 copy of Gallic and the cards were in the binding.
Way books were sometimes bound, piece of wood, then attached/sewn in to pages, book fo that era would have had bound in vellum, pages sewn into cords on back edge
Cards found between end paper and cover
Things definitely get reused.
They may have been put in to hide the cards… contraband?
Plenty of mystery in the collection.

What shield? Family crest. Looks like a D or a moon. On card with unicorn and acorn tree. Leipzig municipal seal.

Antoine Despeisses
1685, beautiful law book
one of more beautiful

preservation projects, gloves if want them, but will break the pages and tear, so they don’t usually make wear gloves
Only exception is photographs.
Can’t use hand cream in the building.

Book, lined with marble paper, Partie L de L’Achept Section III
Cut out and replaced. Something proscribed inside it?
We don’t know why was it made.
Often done like this when books were being censored. So a big book would be used.
Or bring in the “slightly” illegal books in and bribe, with the very illegal

1808 by Sir Walter Scott, gilded on edges
but if pull on slope of edge, watercolor painting
Done the other way there’s a different image.

Ancient Mesopotamia, 2144-2124 BC ruler
Inscription to local deity asking him to bless building
Looks like a pointy thimble about 5 inches, the normal thimble area has hieroglyphic/runes
Finger print of the sculpture on the top edge

Collection of antiquarian books
mid-15C Flemish book of Hours
whole history of printing show (had scarab for seal)

brought vellum page, very thin, can feel the side with fur (That would be a GREAT teaching tool.)
from 1500 in great condition
in better condition than a book from 1940s, despite people are touching it all the time
can feel the fur (mostly in the writing section)

Wood pulp paper started around 1842, the bleaching process made it fragile

SFF Collection books
Thomas Moore
Utopian novel (set in 2040)… French story: no slavery, no poverty, no religion, no coffee or tea
Voltaire 1826 edition (written in 1722)
Oldest item in SFF Cyrano de Bergerac (real person) Comical History of the State Empires of the World of the Moon and the Sun written 1656-1662, first English edition, Copernican astonomy

Dracula1st american cover 1897Dracula first edition, 1838, and first American edition (boring cover–This is an image of the American edition.)
Frankenstein, first illustrated edition, 3rd printing, 1831
Mummy from 1838 written by woman, mummy wakes up in future, one of earliest SF books by woman, titled The Mummy! A Tale of the Twenty-Second Century

First edition of War of Worlds
First American addition of xxx to the Moon—characters talk about literature of folks going to the moon, don’t realize they are characters

HG Wells Invisible Man 1st ed
English 20,000 Leagues Under Sea 1st edition
1st addition of Jules Verne’s Le Superbe…

H Rider Haggard, most famous character was Allan Quartermaine (from League of Extraordinary Gentlemen)
Haggard collection was from a single person’s stuff—collected everything Haggard was ever involved in, including journals with reviews of his books, books about Africa at the time, book in mystery series where one character is book seller and mystery hinges on rare edition of Haggard book
Schiller worked on half of the Haggard collection for cataloging

Robert Howard, Howard collection—not a single collection
Lot of overlap with sff collection… and Haggard and SFF
Collections, intellectually overlaps
Letter Howard wrote, 1932?, from Worth Hotel, have you read my latest yarn in Strange Tales?
Strange Tales, two stories at least, “People of the Dark,” another a Conan story

Mishmash in good way, lots of Michael Moorcock’s material
Legends from the End of Time
Record The Great Rock and Roll Swindle

Building 111 or 112 different collections donated on authors

Amazing_Stories_June_1927 coverPulps
90% of all genre pulps published in US are in this article
continuity of themes:
slide as on “tubes”
Amazing Stories with people in tubes
one cover is puppy in tube and child in space suit
Have to be very careful. The pulps are getting bad. Flakes come off.

Things that we would like to digitize for preservation, but if did, would be utterly destroyed. More important to have scans or to keep the original thing? We are wondering. Some would have to have spine cut off. Pages are brittle. If you bend it flatter, then it cracks. Turning the page makes it crack.

Local and Texas authors. Have collector editions of books… Of Lansdale, Moon, etc.
Texas-Israeli War: 1999

Author-inscribed books
How interested in books as autographed items?
Makes them rare. Makes the better.
One was autographed for Anne MacCaffrey.

Own McCaffrey’s personal SFF library. Donated to library.
Everyone has her personal symbol on a little square that you put in your book as xxx libris. Says “Dragonhold” and her name. Center is a flying dragon.
(her romance one went to Trinity Library)

small personal library of Andrea Norton, but not all of her library (was broken up b/c nothing in her will about what to do)
friend of hers collected her copies of her books (which was from her library)—these donated

archive boxes of personal correspondence,
George R Martin—including his drafts, his own copies, and other things publishers’ made that are related
Moorecock
Other folks… can’t remember
Secure, can only see them through library staff
Accessible to researches

Library has finding aids and see what we have.
Can show original mss of Games of Thrones.

The electronic moving crank doesn’t always work.

How much of authors provide financial support? Little
Give us the collection and we take care of it.
A couple of collections where people gave money, can’t think of one in sff

Portion of letter from Arthur C. Clarke to his publisher.
5-6 boxes of his material
most of his stuff is held by his brother, closed till 30 years after he dies
small collection of his letters to his publisher in England

small snippet of material

like to stress, available for anyone to look at
usually the students come, researchers come
last year had a George R Martin exhibit and he came to the exhibit, so they have his picture looking at his stuff (We also have his caps.)

What things archivists want? Everything.
Anything would be significant.
Financial documents, no, but that’s the main exception. We do weed out those usually.

questioningQuestions:
Question:
Husband and I collected… right now 70,000 books. Mostly paperbacks. Lot of these are first editions. Some signed.
We’re trying to figure out what to do with these…
Mostly paperbacks, is this a place that would be interested in this? Have duplicates of a number of books. Have b/c different covers.
Edgar Rice Burroughs and XXX got destroyed in a flood. We’re not hoarders…

Answer:
Collection encompasses hardback and paperbacks.
We do collect multiple copies for covers.
Can’t think of anyone who would turn away books, even if paperback. But we would love to have them.

We do welcome donations, but sometimes we don’t take. Mold or mildew bad.
If ruined, won’t take usually.
Or if we have multiple duplicates of something.
First thing we do is offer them back to the donor.
Rarely happen to say we can’t use collection. We offer to send it back or suggest an institution.
We will keep multiple copies if: signed, unique feature, different covers.

U of Mississippi will sell it if they can’t use it.

Question:
Address that United Parcel could deliver?

Cushing Library
5000 TAMU
College Station, TX 77843

Suggestion:
Put the address on the ppt

Are there 501Cs? No, but can do as endowments…
What we need is a new building. We are very full and alternative storage options are getting full.

Sources for Teaching Speculative Fiction

I am going to be teaching a couple of science fiction/fantasy courses in the next couple of years. Someone just asked for possible source material for teaching a college level course.

These are the sources I recommended from my “desk” in the UK. (This means that my bookshelves at home are not available as I have not created a digital record of my books.)

I recommended looking at the Hugo Award nominations for good fanzines (blogs) and fancasts.

2014 nominees for fanzines:

  • The Book Smugglers edited by Ana Grilo and Thea James
  • A Dribble of Ink edited by Aidan Moher
  • Elitist Book Reviews edited by Steven Diamond
  • Journey Planet edited by James Bacon, Christopher J. Garcia, Lynda E. Rucker, Pete Young, Colin Harris, and Helen J. Montgomery
  • Pornokitsch edited by Anne C. Perry and Jared Shurin

2014 nominees for fancasts:

    • The Coode Street Podcast Jonathan Strahan and Gary K. Wolfe
    • Galactic Suburbia Podcast Alisa Krasnostein, Alexandra Pierce, Tansy Rayner Roberts (Presenters) and Andrew Finch (Producer)
    • SF Signal Podcast Patrick Hester
    • The Skiffy and Fanty Show Shaun Duke, Jen Zink, Julia Rios, Paul Weimer, David Annandale, Mike Underwood, and Stina Leicht
    • Tea and Jeopardy Emma Newman and Peter Newman
    • Verity! Deborah Stanish, Erika Ensign, Katrina Griffiths, L.M. Myles, Lynne M. Thomas, and Tansy Rayner Roberts
    • The Writer and the Critic Kirstyn McDermott and Ian Mond

I also recommended four books, which are on a list I have in a folder. These are not necessarily the ones on my shelves–though I do have Disch and Roberts.

Practicing Science Fiction: Critical Essays on Writing, Reading and Teaching the Genre. Edited by Karen Hellekson, Craig B. Jacobsen, Patrick B. Sharp and Lisa Yaszek

The Inter-Galactic Playground: A Critical Study of Children’s and Teens’ Science Fiction Farah Mendlesohn Series Editors Donald E. Palumbo and C.W. Sullivan III

The Dreams Our Stuff is Made Of: How Science Fiction Conquered the World. by Thomas Disch.

Science Fiction. The New Critical Idiom series. Series editor John Drakakis. by Adam Roberts. Covers definition, history, gender, race, technology and metaphor

Editing Q&A

9Worlds GeekFestI was late, so these are mostly notes from the Q&A.

Editor: Abigail Nathan

Editors have several copy editors looking at a doc at the same time, because you are only human and you miss things. –for FYC

editing can sound intimidating
lots can be done by the writer (after time off)
but hiring an editor can be beneficial

story doctor—How do you hold enough story in your head to see if the shape is right?
If I’ve skipped, you’ll do 3 or 4 passes on any manuscript. Think it is just instinct. If I’m questioning it, I put a check mark.

When you are writing, if you know you are fudging, mark it, so you can come back and look at it.

jarred out of the scene or the story

limited resources, but spend a bit of money, which type of editing should pay for?
I tend to advise on each manuscript. It depends where you are up to.

If you’ve really polished it, a copy edit might be enough.
It’s worth talking to the editor you are hiring.

Manuscript assessments, that I make a bit more intense.
Usually outlines story as I have understood them.
If know no $$$, Might point out things that they have done that they need to fix.

la_summary martinhow to make the work shorter?
Example: last hard copy I did for a publisher, came in huge box. When I had to send it back, 2000 pages.

The worry that someone is not going to understand your story, if they start cutting and it’s not the right cutting, stop them.

If you are hiring someone to work with, make sure they understand your genre. That will disappoint you all over.

Learning to cut is quite difficult.

Lots of technique to do daily.
Use Twitter for how to be concise. (use in 003? 106?)
Really does work.

Trust readers.
Show; don’t tell.
Most people show and tell.
Character thinks back through the scene. You don’t need that. If you’ve written the active scene right in the first place…

Readers fill in details.
We all do that.
With too much information, readers might complain. If publishers use photos and images, that can be difficult because it doesn’t seem to match what the authors described.

Worked on a 300,000 manuscript. Mostly too much back story.
Cut back. Make sure you start at the right point.

Had 5 manuscripts that started with dinosaurs, but were not all about dinosaurs at all. “You can chop these first 8 chapters.”

Don’t let them tell you how to rewrite it, but if they can tell you what didn’t work….

High School student at deskwork with short stories?
Yes. Same idea on shorter level.

Starting story in the right place. Being more concise.

Work with someone whose done short stories a lot.

Principles are same, but different level.

Lots of self-editing. Most of you self-edit. Thinking about “working on your story.”

why might an ending not be working?
lots of reasons.

Is it ending in the right place?

Have you got an epilogue?

Have you wrapped up too much? Not enough?

Often think that “great ending” and then there are two more chapters…

perspective—group disagreement—obscure and obvious? single perspective? how to resolve?

Editors are more distanced. Fall in love with manuscripts all the time. We fall hard.

But I think we have a distance. While editors are writers, you are trained not to tell your story…. It may be the other people want to hear the story they want to write.

Session on how to be a good writing reader… Fanfic session. Fantastic for learning how to write. Lot more friendly. Lots more sympathetic.

Pencilhow do you know when to stop editing?
When you start thinking that. When you aren’t making headway any more.

If you get to the point where it is a single word, a comma… put it away.

Keep away from two weeks (or 3 months) and no big plot points jumping out at you, then good.

descriptions good, dialogue good; when I put the two together, doesn’t work. How do you make the two work together?
might be that you read and write in short bursts

Weaving it together is editing yourself and cutting those words down.

Exercise: word goal. Two things that need to work together. There are 3,000 words; you’ve got to get it down to 1,500. Then figure out how to get those two cut.

Lot to do with context.

*My suggestion, exercise: Try to work those two things together like some author that you enjoy and want to emulate.

*Session in the evening open house, tomorrow night, writing exercises and feedback.
Feedback and XXX.

*Who is listening to the story? Who is listening to the dialogue and the description? Maybe figure out the speaker…

*Try swapping how you write normally around.

*Write a story that is only radio and one no dialogue.

grading collapseHow do you edit kindly?
No one believes me, but sending back a manuscript that I have marked up, I will worry about that. It doesn’t matter how wonderful the manuscript is, they only notice the negative.

I will spend hours going over the edits, trying to make it so it doesn’t hurt anyone’s feelings. Try to make sure I am not criticizing the person.

Sometimes I say a lot and they don’t hear it.

My role is to smash dreams.

What needs to be described, time taken?
That is going to be different for every story.

Make sure your story is three dimensional, as well as making sure what story you want to tell.

Then layering. Not explaining everything that happened but make the work three dimensional. What can she see? Is the room hot or cold?

Writers get stuck with a word count. Word count is still an issue, but the length may not be a problem with digital publishing. Get the story right first.

*Used to have the same problem. Took 2 or 3 story ideas and put them all together. Jam them all into one story, even though they don’t fit, and try to write that. –It is actually one of the things that worked for me.

How do you analyze pace of story?
If I find myself thinking about dinner, washing, that’s the slow part. If I forget to mark anything, it’s working perfectly.

Watch my own reactions as I am reading through. Even… might only be a few paragraphs.

A lot of editing is the back brain picking things up.

Writing works like that.

You become more aware of instincts as a reader when you recognize that. So something has lost me, why is that?

Started off writing fanfic. First story that was important to me to get it right, I sent it to someone who was a ruthless reviewer. Spent the first 24 hours upset, but then realized she was right and rewrote the story.

We all want the love. But you have to be honest.

Treat the edits as a suggestion. That bit is highlighted, which says there is where the problem lies.

Most of the writers I work with who want to learn to write will spend time.

Some people just want to work with an editor. Take the work to a publisher and say, “Yes, I’ve worked with an editor. It’s all good.”

How do you give feedback if they’ve just rewritten a work?
Writers don’t think that editors know about fanfic.

If they’ve quite clearly copied something, point it out. “This is really similar to XXX.”

What’s the most common kind of story development problem?
Fantasy writers are in love with prologues.

Knowing who you are writing and who you are writing for.

Prologues—practical perspective, on Amazon, “Look inside” that tends to be the end matter on either end. If you put the prologue there and it has nothing to do with the story, unhappy readers.

Prologue—hook. Prologue should be something different. From perspective of characters who aren’t important till later in the book.

Usually prologues are adding backstory. Adding backstory that you don’t need.

POV. Very important.

Limited abilities and perspective. If writing from a particular character’s point of view, you can’t see what is happening to yourself. Needs to be phrased as feeling or touching, not seeing, if it is about the viewpoint character.

Don’t think love scenes work with both points of view.

Have breaks for point of view shifts. –psychology of reading. So much with a carefully placed line break.

Readers will pick up on the format. Segues and breaks. subconscious stuff.

Student Holding Stack of BooksSeries of books. Not necessarily same story. But same character in each story. How much does reader need to be referred back?
If you want them to read in order, don’t put too much in.

If you anticipate audience is jumping in, put more in.

If stories are linked, if they’ve written a story… Have difficulty deciding what to put in and how to remind them.

Most publishers like to keep editors on the same series. –but fresh eyes show that “no backstory here and needed” ….

How often say scene written from wrong character?
every edit

Soliciting editor… don’t have the beginning, the end, just the middle? Can they look at this and see issues?
Have done that for people. But need a conversation because not the same thing as the completed work.

“I’m assuming you’re going to do this.”

Don’t pay for this. It’s not polished.

Find honest friends, but not cruel ones.

Don’t waste money on editing at this level.