We are thrilled to announce the results of the October 2021 FictionFive Contest!

And the winners are… drum roll please…

We are thrilled to announce the results of the March 2021 FictionFive Contest!

And the winner is… drum roll please…

By: Gemma Martiskainen

Creating a plausible world is a challenge unique to fantasy. In other genres of fiction, you work within the parameters of Earth, and the reader will immediately know how the society runs. The setting is familiar to them, so you don't need to spend much time explaining the characters' surroundings. But when you build your own world, you must slow down. For the reader to empathize with the characters, they must understand the world the characters live in. As the writer, you should try to make the world look like it could really exist.

By: Daisya Spencer

Okay, I’m going to get a little transparent here. Burnout is something that I struggle with and I know I’m not the first person, nor will ever be the last, that struggles with this. The reason I am saying this out loud is to 1) hold myself more accountable and 2) to look back on this moment where, in these rare moments, I am being completely transparent with myself. 

I remember a conversation I had with a fellow student during my community college days. We had a class together. He wasn’t very much of a writer but was incredibly insightful in that he knew what to say. Anyway, I relayed to him the issues that I was having with my writing, and how I mentally wanted to finish a certain work-in-progress on time. His response, although not verbatim, “Why the rush? Just have fun with it.” And he was right.

By: Emily Michel

We have all seen the lists of no-no words. That, very, just, then, and dozens of others you are supposed to stay away from. But what about the ones particular to you, a quirk or ten you picked up over your many years of being human? And how do you even know you are overusing them if they aren't on someone's prefabricated list?

If you couldn't guess from the title, the answer is word clouds.

By: Rachel Hanley

When my first short story was accepted for publication, I knew to expect at least one round of revisions with the magazine’s editing team. No problem. I was even excited for my first professional editor letter. 

Then I got the letter. They made lots of small suggestions and even one larger suggestion that re-framed an entire scene. The team’s insight made complete sense to me, so I implemented everything without any complaints. Well, almost everything. Then there was the feedback for the ending. The editors wanted me to change the ending, and they had a specific idea of how the story should end… and I hated it. Their version just wasn’t a story I wanted to tell. If I made the change, I would no longer feel proud of publishing this work; it wouldn’t really feel like my work anymore.

By R. L. McIntyre

Creativity is a fickle thing. It appears at the most inopportune times when the ability to transfer it to the page is limited, which makes its absence when we’re ready to write even worse. Often, it might feel like trying to wrangle a cat. If you own a cat, you know they determine when they will hang out or not. It’s not something you can force. Somedays, you can convince the creativity cat to sit with you, and it’s great. Other days, you sit with a blank page ready to begin an adventure, and the cat leaves.

By: Lily Sayre

Reaching the end of your novel can feel impossible. Perhaps your inspiration has run out, your plot is wearing thin, and you’re lost in the messy middle of your manuscript. Or maybe you’ve sat down as I often have, with a brilliant idea that fizzles out the moment you try to put it on a blank page.

All authors can agree that regardless of where you are in the writing process or what your goal for your manuscript may be, finishing your novel is essential. Although it may seem like your story “just isn’t working,” the odds are that you can make it to your ending by applying these four techniques I’ve used to finish more than eight manuscripts in seven years:

By: C.S Gregg 

Like every geek worth their salt, I have lofty aspirations of becoming a prolific writer. Also, like many geeks, I have no friends. Specifically, my life is marked by a dearth of friends willing to pour through the tens, if not hundreds of thousands of words of that novel I’ve been talking about for so many years. So, finding a critique partner has been the missing ingredient to taking my craft to the next level. That’s right, I call writing “my craft.” Impressed? Well, CritiqueMatch has been an invaluable tool in helping me find the critique partners who have given me the confidence to speak with such hubris. And, like any tool, there’s a right way and a wrong way to use it. Here are a few tips that I think might help you to find and work with critique partners online.

By: Andrew Rydberg 

One of the most difficult parts about writing is getting started. You’ll get a million ideas, characters, scenes - you name it. But every time you sit down and are about to put it all on paper, your mind goes blank. Doubts start flooding in, you forget some of the key items you wanted to include, and every menial distraction becomes overbearing. Finally, you say, “forget this!” and walk away, thinking maybe next time will be better. It’s a common roadblock. But it’s not as hard to get around as you think.

By: Skylar Shoar

I’ll begin this post by saying what I always tell my critique partners: all opinions are my own–choose to take from them what you believe will enhance your work.

What is a critique partnership? Why do you need it? How can you get one?

These are all great questions, and every author, especially new or aspiring writers, should aim to know the answers. 

Why?

By: Alice Baine

Writing is strange. I find it both bizarre and wonderful that we have this indomitable urge to forge stories from our imagination, then graft them into a tangible medium for the enjoyment of random strangers. It makes very little sense, but it’s also something that makes us human. We need to produce art.

This passion consumed me ever since I was old enough to comprehend it. My free time went to pounding words out of a keyboard until they somehow arranged themselves into a completed novel, ready in all its glory to wow the world.

By L. J. Hasbrouck

Many consider writing to be a solitary journey, but it’s dangerous to go alone. Okay, maybe not dangerous, but I’d advise against it. Here’s why.

There’s a massive world out there filled with people like us: creators who want to tell their stories. But telling isn’t enough, as many editors will advise when it comes to your writing. You thought I was going to write something about “showing” here, but I actually want you to share. It’s scary because we’re all afraid other people might not enjoy our work or think we’re talented authors. Maybe you write as a hobby and don’t care about getting your work out there. That’s understandable. But sharing it with other authors, editors, and readers can help you see things you’d likely never see on your own.

A warm welcome to Pro-Critiquer Jackie H.! 

It's hard to chase publishing trends but knowing what areas of the market are over-saturated could be helpful for writers pitching their stories to agents and editors.

We asked the question "What areas of publishing are over-saturated more recently?" to 6 literary agents in the fall of 2020. Here's how they responded: 

Mary C. Moore, Kimberly Cameron & Associates:  Publishing tends to be cyclical, so what I say may be oversaturated now, will change quickly. However, we are on the tail end of a YA royal fantasy glut, and I would guess that we will see an oversaturation of witch fantasies and horror in the near future, as a lot are being bought up right now. MG in general enjoyed a big surge these past two years, so it may be harder to sell in soon, like YA is, but hopefully not. Personally, I think WWII and superhero stories are overdone, but they are still regularly hitting the shelves. The “Girl” titled thrillers have calmed down a bit, but are still a hard pitch. The reality is, if you have a fresh take on any genre/story you can break through, no matter the state of the market. But you need to know the market to understand what a fresh take would be, so read, read, read. And be reading current books!

Jackie Williams, The Knight Agency:  Interesting question! I think it's more challenging to stand out in the YA market, particularly YA fantasy nowadays. The concept needs to be super strong and fresh. I've seen a lot of great YA books not get the coverage they deserve, and more recently, editors who have the option of acquiring both YA and adult books shift more towards adult fiction.

Felicia Eth, Felicia Eth Literary Representation: Recently we’ve seen a plethora of dystopian novels, dependency memoirs, and lots of historical novels attempting to redress racial and multicultural issues.

Dawn Dowdle, Blue Ridge Literary Agency: Mysteries have become oversaturated in the last couple of years. I feel there are still plenty of readers, but editors have become much more selective in acquiring mysteries due to the market.

Malaga Baldi, Baldi Agency: Trump! Enough Memoir.

Linda Glaz, Hartline Literary: I know most editors have recently been very full of historic and historic romance, and were leaning toward contemporary and suspense, but my guess is, we will see suspense getting full very soon here. Hopefully, that will be good news for historic authors. Contemporary romance never seems to see dark days.

Check out more literary agent interviews with our Agent Spotlight Series!

About

CritiqueMatch.com is a free platform where writers, beta readers, and editors connect and exchange feedback. Join us today! No subscription required.

Here's how 10 literary agents responded: 

Jill Marsal, Marsal Lyon Literary Agency:  It really depends on the manuscript.  Some authors come in with manuscripts in very strong shape and might need just light edits whereas others may need more editorial feedback.  In the latter case, I am hands-on and will go back and forth to try and make the manuscript as strong as possible.  For a debut author who has never written before, there tends to be more feedback and editorial focus whereas a bestselling, experienced author might need more help with career building, marketing, and branding rather than editing. 

Mary C. Moore, Kimberly Cameron & Associates:  I tend to be heavily involved in the editing process, although less so than I was at the beginning of my career. Again, it depends on the individual, but I expect no less than one round of revision with a new project, and on average, do three rounds of revision. These revisions are focused on big picture developmental edits; I rarely if ever, do line-editing for my clients.

Jackie Williams, The Knight Agency:  I'm very hands-on. I love supporting the author and creating a dialogue on how to improve the manuscript. And every manuscript needs something different. My editorial comments are entirely at the author's discretion, but it's one of the best parts of the job to get creative with the author and figure out the solutions needed for their book. 

Felicia Eth, Felicia Eth Literary Representation: The answer here varies from project to project but on the whole, I am quite hands-on. Rarely does a project get sent out by me where the author hasn’t gone through one or two revisions, and I can recall one project which was a first book, where the author revised the proposal 8 or 9 times, but I did end up getting him a $100,000 advance. But honestly, I’ve worked just as hard with books that sold for $7500. 

Annie Bomke, Annie Bomke Literary Agency: I am very hands-on.  I usually go through anywhere from two to eight drafts of a manuscript before I send it out.  I’m a compulsive grammar-corrector, so my comments always cover copyediting as well as big picture stuff, like character development, plot and writing.  

Dawn Dowdle, Blue Ridge Literary Agency: Every book goes through full editing with me before it is queried to editors. 

Malaga Baldi, Baldi Agency: I am not an editor instead, more of a cheerleader.  There are many superb editors turned agents. Most of the manuscripts I represent are written at a top level.  If there is a manuscript I believe needs work, and I am Gaga over it, I suggest to the potential client a handful of paid for editing former editors. This does not guarantee publication and the author pays for the editing out of their own pocket.

Linda Glaz, Hartline Literary: Probably a LOT more hands-on than my clients would like. I am fanatic about getting a proposal in its absolute best condition without annoying typos and obvious inconsistencies. I want an editor’s first take to be: “Now, THAT’S great work!”

Duvall Osteen, Aragi Inc: Quite, especially at a macro level. First, I work with authors on bigger picture edits, and edit more via asking broad questions rather than line by line. Of course, there is also a time when focused editing is necessary, and that takes shape based on the individual needs of the book, and the work style of the author.

Heather Jackson, Heather Jackson Literary: Very much so. It is so very difficult to sell a book and made much more so if you don’t present the absolute best version of a proposal or manuscript that you can to the editors you are pitching.  They are bombarded every day from every angle, and as such, their lists and their mindsets are tilted towards a reason to say no.  I like to try and remove as many reasons for that “no” as possible before we send out, so as to give an author the absolute best shot at a good sale and a good home.  And even then, most of the process of selling the book is filled with rejection, even when making a ‘big’ sale.   

Check out more literary agent interviews with our Agent Spotlight Series!

About

CritiqueMatch.com is a free platform where writers, beta readers, and editors connect and exchange feedback. Join us today! No subscription required.