It happened again last month. A writer emailed to say that she had finally finished her manuscript and it was now ready for my professional feedback. “I’ve wanted to get it to you for months,” she wrote, “but I had to make sure it was finished first.” Uh oh, I thought. I wasn’t being mean — that was hard won experience talking. I knew this person was a good writer. That’s almost never the problem. The problem I feared was that she was about 300 pages too late, and I’d be reading a well-written, story-less, plot-filled novel that went nowhere. Which meant I’d have say to her what I almost always have to say to writers – even well published writers — who come to me with finished manuscripts: “Let’s go back to the very beginning and nail the story before you begin [pullquote]One of the biggest mistakes writers make is waiting too long to seek help.[/pullquote]to spin a plot.” I take no pleasure in the fact that I was right.
One of the biggest mistakes writers make is waiting too long to seek help. I’m not talking about writers’ groups to cheer them on, or writing workshops to learn about craft. I’m talking about serious, professional, story-focused help so they can get their story right, right from the start. Because learning to “write well” is not the same thing as learning to write a story. And without a compelling story, the result is — at best — what’s known in the trade as a beautifully written, “So what?” And at worst, merely a bunch of things that happen.
In this regard, I practice what I preach. I worked with a coach on my first book and on the proposals for my next two books (on which my publisher instantly made offers). I work with her when I develop speeches, talks and articles. I can’t imagine working without her. I’d feel like an orchestra without a conductor, an athlete without a coach. This outside assistance helped catapult my career to a whole new level – and it can do the same for you.
But what is a book coach, exactly? I’ve asked my book coach, Jennie Nash, to answer some questions about book coaching to give you an idea of how it works and why it’s effective. Originally, being a story coach myself, I was going to answer the questions as well, but I found that I’d almost always be echoing what Jennie says so succinctly. She and I also recorded a 45-minute conversation about the process, which offers deeper insights into all of the topics we cover here. You can access that interview at the end of the piece.
Lisa: So what does a book coach do, exactly?
Jennie: The simple answer is that a book coach guides a writer through the book-writing process. A coach helps a writer to understand her idea, execute it, [pullquote]A book coach can be many things – a cheerleader, a whip cracker, a sounding board, a strategist, a story analyst, a project manager, a publishing consultant, a marketing guide, even a shoulder to cry on[/pullquote]and get it out into the world. What this means in practice can vary wildly. A book coach can be many things – a cheerleader, a whip cracker, a sounding board, a strategist, a story analyst, a project manager, a publishing consultant, a marketing guide, even a shoulder to cry on. So one of the first things a book coach does for a writer – before they are even hired — is force the writer to define exactly what kind of help they need, which forces them to think about their creative process, which forces them to think about their book not as a hobby or something they are just dabbling in, but as an actual, I’m-really-doing-this venture. When writers come to me, they are ready to get serious.
Lisa: How does the process work?
Jennie: It depends in large part on where the writer is in the process and what kind of help they need. I have many writers who come to me at the “I have an idea and I’m ready to commit and I don’t know where to start” stage. I help them understand their idea, structure their book, take a measure of the marketplace and get off the starting block. Sometimes writers have done that work already, but they’re stuck; they can’t seem to move forward. I give them weekly deadlines and accountability to get them to “the end.” And at still other times, writers come to me to get help pitching a book they have already finished — perhaps they need to develop a book proposal or an agent has said they need to cut 150 pages from a novel and they’re freaking out. (I’m not making this up; this just happened…)
Lisa: Hiring a book coach sounds like a big investment.
Jennie: It is exactly that – an investment. As I said, above, writers tend to work with coaches when they are ready to take their work seriously. They are finished “trying” to write a book, finished simply talking about it, finished making excuses. They are ready to tackle the challenge head on. Working with a coach gives you nowhere to hide.
You set deadlines. You must be accountable. And you are paying for professional feedback, so you tend to take it seriously. You may not accept it, but you [pullquote]A finished rough draft you work on with a book coach is actually more like a fourth or fifth draft or sixth draft.[/pullquote]tend to respect it in a way you don’t necessarily respect the feedback from your neighbor or your friend. All of those things combined mean that the writing tends to go faster and tends to come out stronger. A finished rough draft you work on with a book coach is actually more like a fourth or fifth draft or sixth draft.
Lisa: A book coach is a relatively new thing. What shifted to bring book coaches into the publishing universe?
Jennie: For the most part, agents and editors stopped giving writers the kind of intimate hands-on help they used to provide, so traditionally published [pullquote]Working with a book coach gives you both intensive attention on the entire sweep of your book and professional, practical feedback – plus there is the ongoing deep-level emotional support, which should not be underestimated. [/pullquote]writers needed to find that help somewhere else. That hands-on assistance was one of the best parts of being traditionally published – at least that was my experience as a writer. There are still SOME agents and editors who do this work, but it is increasingly rare. Self published writers need to find professionals to help them at every stage of the process (cover designers, proofreaders, etc.), so it stands to reason that as more writers self publish, more writers need book coaches.
Lisa: What does coaching offer that writers’ groups and writers’ classes don’t?
Jennie: Groups and classes allow you to be part of a community of writers, and it’s nice to have the support of your peers. It’s a good way to combat the loneliness and doubt of writing. But in a class you’re not getting intensive attention on the entire sweep of your work; you’re usually only getting lessons on craft and surface-level feedback on a small part of the whole. And in a group you’re not getting professional feedback; you may get strong reactions from other writers, but little in terms of why something is not working or how to make sense of the reaction, or how to fix it. Working with a book coach gives you both intensive attention on the entire sweep of your book and professional, practical feedback – plus there is the ongoing deep-level emotional support, which should not be underestimated. There are times when I think that is the most important thing I give to my writers.
Lisa: Why should writers ask for help early in the process?
Jennie: As you said in your intro, getting help at the start of a project can be the most powerful and productive time to make an investment in your book. Waiting until you get stuck – or, as you mentioned, until you are finished – tends to put the writer in a bad bind. If anything is off balance or flat-out wrong in the narrative or the structure, it takes an incredible amount of time to unwind everything, to peel back the layers, to figure out exactly where it went wrong, why, and then get it all right. We can do it – it’s not impossible – but it’s infinitely more frustrating for the writer, because at that point they have invested their heart and soul, not to mention years of their life, into the book. They really don’t want to hear what’s wrong, for one thing, and they try to find the most [pullquote]Writers who have a pile of rejections – usually really nice and encouraging rejections – and want some understanding as to why their book is being rejected.[/pullquote]painless way to fix it, instead of the best way to fix it. If they come at the start of the project, the cement is still wet. It’s totally malleable. You can lay a really strong foundation – and then any problems that might arise in the writing of the book are much easier to fix.
Lisa: Have you ever had a writer come to you with a finished manuscript that was so perfect it merely needed a little polishing?
Jennie: No. I know you would say the same thing, Lisa, and I know that we both hate to say it – but it’s simply the truth. I imagine that those writers are the ones who instantly and effortlessly land top agents and giant advances. They don’t need anyone’s help! More often, what I see is the opposite: writers who have a pile of rejections – usually really nice and encouraging rejections – and want some understanding as to why their book is being rejected. I do a “Rejection Audit” where I read through all the rejections and the materials submitted to agents in order to find an answer — and it is always very obvious to me where things have gone off the rails and what needs to be done to get the book back on track. Many times, the agents are actually telling the writers straight up what’s going on, but the writer just isn’t hearing it. It’s not that they’re dense; it’s that, after awhile, it can be very hard to see your own story.
Lisa: What is the best part of the coaching process from your perspective?
Jennie: Well for me, it’s getting to go down deep into someone else’s creative process. That’s a powerful and a potent place to be and I personally love it. I love ideas and strategizing and helping people find a way forward. I particularly love it when someone gets to a place where they have worked really hard and can finally say, “I did it!”
If I had to answer from the writers’ perspective, most of my clients would probably say that it’s having someone believe in them. I believe that anyone can write a book that other people want to read. It may not be fast or easy or painless, but I believe they can do it, and my writers undoubtedly feel that confidence.
Lisa: What’s the biggest thing you see writers doing wrong?
Jennie: Rushing. Thinking it’s a big no-brainer to write 300 pages that can hold a readers’ attention. Thinking that the second they get to “the end” of a first draft, they are done.
Lisa: How can writers find a good coach? What should they look for?
Jennie: The best way to find a good coach is to ask fellow writers for recommendations. They’ll tell it like it is. There’s no license needed to do this work, no certification, no graduate program, so anyone can say they do it. Therefore, you want to make sure your coach has a proven track record. Once you start narrowing the field, ask the coach to explain her process and her philosophy so you can be sure she suits your needs. When you get serious, ask to have a short consultation – expect 15 minutes or 30 minutes – to learn about their style and personality. Finally, don’t lock yourself into a long-term commitment until you’ve had a chance to experience how the process works.
A few extras:
- Listen to me and Jennie talk about book coaching in this conversation HERE.
- Visit Jennie at jennienash.com or at authoraccelerator.com. Jennie is offering Writer Unboxed readers a free trial week in her program Author Accelerator – an accountability program that gives writers weekly email lessons and personalized feedback. Write to Matt@noblankpages.com
- Visit Wiredforstory.com for a Novel Genesis worksheet, to help you nail your novel from the very first page.
About Lisa Cron
Lisa Cron is the author of Wired for Story: The Writer’s Guide to Using Brain Science to Hook Readers From the Very First Sentence and Story Genius: How To Use Brain Science to Go Beyond Outlining and Write a Riveting Novel (Before You Waste 3 Years Writing 327 Pages That Go Nowhere). Her video tutorial, Writing Fundamentals: The Craft of Story, can be found at Lynda.com. Her TEDx talk, Wired for Story, opened Furman University’s 2014 TEDx conference, Stories: The Common Thread of Our Humanity. A frequent speaker at writers conferences, schools and universities, Lisa's passion has always been story. She currently works as a story coach helping writers, nonprofits, educators and journalists wrangle the story they're telling onto the page; contact her here.
Wow, Lisa, your post scares me. I am very reluctant to have anyone read my drafted fiction until I’ve got the bones of the story down as a working draft from beginning to middle to end. I tend to keep the baby warm and wrapped before letting a critic at it. I’ve never approached an editor so early on. I’m at page 200 in my novel at the moment and hacking out the final third. Too late for a book coach, do you think?
Don’t be scared, Paula! Some writers find their way by — gasp! — writing. It’s never to late for feedback. The last WU post, from Ms. Callender, spoke to this reality.
The thing to do, whenever you are ready for outside input, is to be open to it. To welcome it and try your best to weigh it without letting your emotions get too far in the way. Without that openness, the writer tends to shut down, get defensive and do all they can to protect the work. WITH an open attitude, you will be in a position you need to be in to make good revisions. This is true whether you are letting your husband read your manuscript for the first time, asking your English teacher friend to look it over, getting a critique at a writing conference or hiring a book coach.
This excites me, Lisa. I have a zillionth draft out to cold readers and am in that weird space of mentally reviewing my story to psych out whether or not it works. Of course, I can see nothing. Perspective has vanished. I actually said out loud to a writer friend yesterday that I NEED a story guide. So I actually got goosebumps when I saw this! I’ve hit some bumpy turning points these past weeks. Old ways of doing things seem not to be working anymore. I feel fear and exhilaration. Your post is timely for me. I look forward to listening to the interview.
Hi Lisa– Thanks for providing an overview of what a book coach does. I have wondered, because the word “coach” is now applied in many ways. Not so long ago, people with family or marital problems went to therapists and counselors. Now, a “life coach” is often competing for the same business.
You tell us that a book coach “can be many things–a cheerleader, a whip cracker, a sounding board, a strategist, a story analyst, a project manager, a publishing consultant, a marketing guide, even a shoulder to cry on.”
This laundry list bothers me a little. It seems the book coach is potentially all things to all people. But in the list, you are talking about gray areas subject to debate and differing opinions. And you tell us that “there’s no license needed to do this work, no certification, no graduate programs, so anyone can say they do it.”
Probably that’s why your friend Jennie urges writers to conduct due diligence before signing up with a book coach. But if as a writer I am the kind of person who needs lots of TLC, hand-holding, etc., I will be very grateful for the coach’s time and encouragement. Even when there’s no concrete evidence the coach will actually help me. I will be vulnerable to clever pitch artists–I may even recommend someone enthusiastically, just out of gratitude for having been encouraged as a writer.
And as with book-marketers, the writer pays, whether or not the coaching is useful.
All I’m saying is: a neon “caveat emptor” sign needs to be flashing all through the search process for a book coach. And the writer needs to be very self-aware.
Thanks again. Self-publishing has opened the door to many new business opportunities, and posts like yours help to inform writers.
Hi Barry,
Many of the words you quoted in your reply were mine, not Lisa’s. I just want to make sure that you don’t take her to task for the laundry list that is, indeed, mine ;)
I think a neon sign of warning is absolutely in order when looking for a book coach, and being on the lookout for people who are taking advantage of writers who may be feeling nervous and vulnerable. I would add to that to make sure that you don’t fall prey to too-good-to-be-true promises — i.e. you can write and publish a book in 90 days, or you will land an agent, guaranteed. Those scams are out there to be sure.
I make no guarantees — it’s actually in the contract my clients sign — and I often talk to potential clients about how long, hard and painful the path to writing a book can be. I’m usually bending over backwards to make sure they enter into a relationship with me with their eyes wide open.
But I also want to say that “time and encouragement” are incredibly powerful forces. In the last 18 months, I’ve had ten clients land top New York agents and seven of them have inked book deals with major publishing houses. Two others have self published books — one which won a national award and the other which landed the author a lucrative deal with a prominent speaking agent.
Yes, the writer pays me, often dearly. But here’s the surprising thing: even my clients who DON’T find major commercial success tend not to regret their decision. There’s something about actually committing and doing the work and seeing it through that is deeply satisfying. — and worth the price of admission.
Hi Jennie–
Thanks for troubling to reply in detail. I stand corrected (well, actually, I sit corrected): the laundry list is yours, not Lisa’s.
To fully appreciate the extent of your success over the last eighteen months (ten of your clients got agents, seven of them inked deals), I would need to know the total number of clients you worked with during that time. A small number would mean your stats are more impressive than would be true if you’ve been working with a great many writers.
Wow, you’re tough to impress!! I’m just one person, who has to eat and sleep in addition to work, so there’s no magic involved here! At any given time, I am working with approximately 20-25 writers are various stages in the process — some who come to me for a quick check-in, some who come for a final polish, some who I work with from zero to finished. That means that over those 18 months, I perhaps worked with a total of about 50 writers. I would say that approximately 15 of them finished their books within that period of time. Which means that approximately half enjoyed the results I explained. I don’t know about you, but I find that pretty remarkable. It’s something I’m very proud of.
Jennie–
Am I hard to impress? If so, that can be explained by some nasty experiences. In any case, I am now impressed: you don’t take on too many clients, and you certainly seem to do well by those you work with. I’d be proud too!
Awww, well thank you! I knew I could win you over ;)
Hi Barry
Your concerns are spot on and, to me, are representative of many authors approaching the publishing world with their book nowadays. Self-publishing and Indie publishers can involve a very sharp learning curve, so many of my clients are looking for an editor who also is willing to stand by them all the way through and to publication.
I specialize in developmental edits, but have found over the past several years that more and more authors ask for more and more support beyond actual editing. These progressive needs pushed me to learn more and more about all the ancillary elements of publishing beyond editing, such as book covers, query letters, agents, Indie publishers, self-publishing, marketing [deep breath] and so forth.
That learning experience continues and I’m grateful for that, but the past few years and the upsurge of self-publishing has also brought me an upsurge of author clients without actual manuscripts. These are sincere, excited writers with a book concept they’re passionate about and plenty of raw talent, but with no idea how to actually write a well-structured story.
Many editors long for a certification option in the States, which might make it easier or at least standardized for authors to make editor choices. However, all writers (myself included) would still have to determine on their own if the editor, though holding a certification, was professional, ethical, and offered the type of support we actually need.
Tough situation…
And that, I believe, is where reputation and references have to sway decisions and allow authors to feel secure in their choices.
I’m glad you expressed your concerns – they’re shared by so many authors. Thanks :)
People who come to you with exciting ideas for their novels but no idea about how to actually write their novels may want to consider studying the craft of novel writing. They need to invest the time needed (a lot of hours) to learn the craft.
It reminds me of someone who thinks up a great idea for an invention and then not knowing anything about how to put the parts together to make the contraption work.
Working with you sounds like a good option for learning the process and getting the work done.
Lisa, when I read “a beautifully written, ‘So what?'” I thought of what happens to a tree left to grow next to a fence (and the manuscript I’ve just set aside). Thank you for explaining more about what a writing coach is and thank you Jennie for those detailed answers. I signed up for your novel genesis sheet and newsletter and now have Wired for Story on my radar. Since I’ve just started a new book idea, I think I’ll check out Jennie’s generous offer of 1 week free consult for WU members too.
John, I highly recommend Wired for Story, especially now, in the early stages of your new project.
Vaughn, I always take recommendations from you seriously. Guess what’s in my Kobo now?
Hi John,
I’m glad you’re inspired. We look forward to showing you what the Author Accelerator is all about.
Hello Jennie,
Is it matt@noblankpag.com who I email to get started with the WU deal? I’ve had a look at your packages and $49/ month for a basic package is very affordable! Even the advanced $149 is excellent – especially with the regular editorial feedback. I would pay $4000 to a developmental / copy editor to get my manuscript in shape, so why not invest half that in positive, directed growth and learning rather than post-destruction headaches?
Ps Vaughn – I’m now reading Wired for Story and it’s so good I think I’m clearing my day and reading the whole thing. Very, very good recommendation.
Hi John,
Yes, email Matt for the free trial.
Obviously you will not be getting the intensive editorial attention of a one-on-one coach in this program, but you will be getting good feedback that can keep you on track.
Thanks, Jennie,
I am still not sure how to email Matt – it looks like the email address is truncated in the post. i.e. should it be matt”at”noblankpages”dot”com? I’m assuming that’s correct, but want to make sure by posting here in case other WU members might have wondered about the email address as written in the post.
OH! Got it! Matt@noblankpages.com. If you have trouble, email me through jennienash.com
Thanks for the generous offers!
Just received Novel Genesis, and it’s great.
This is very interesting. Lisa, I’m reading Wired for Story right now and absolutely am loving it. My purple pen is getting a workout marking passages and making notes!
I perform developmental edits primarily and this post struck a chord with me, especially working with writers who are ready to start writing and stop talking.
Nothing requires more diplomacy than helping a writer turn their excited, in-depth discussions of their book into excited, in-depth writing of their book. I want that passion for the book to be translated into passion for writing the book – and unfortunately, some writers have tremendous book ideas but are unable to actually author those ideas.
I don’t call myself a book coach, but do consider myself an author coach, which includes teaching the potential author how to write, when to write, how to make writing a priority, how to squeeze writing into other life elements, and how to believe in their abilities, talents, and book concept – among all the regular editing support.
I’ve come to rely on the manuscript assessment as an initial evaluation tool with new authors, as it allows me to establish the book’s edit status and a starting point for editing. This step is a fraction of the cost of a developmental edit and gives the author substantial information to work with on re-working their book before it is ‘finished’.
Appreciate this post, as it backs up what I’ve droned on about for years: don’t talk about it, write it and I enjoyed hearing Jennie’s thoughts that echoed many of my own.
Thanks!
All so well put, Maria! You sound like an awesome coach. Your writers are lucky to have found you!
Thanks! I love what I do – it’s apparent you do too!
Lisa (and Jennie’s):
Great post and interview. This shifts my thinking about help.
Somewhere I had made the assumption that only very weak or highly successful writers sought professional assistance: the former out of desperation and the latter because they could afford it and had a larger publishing enterprise to manage. But everyone? That comes as comfort to one who puts herself in the remedial category. The longer I write the more I see skills I want to strengthen. Reading this article leaves me less embarrassed to need help. Good morning boost. Thanks!
This is such a keen insight, Kate! Wow! Can I quote this reply?
If you want to try out what it’s like to get feedback, check out the free trial I’m offering WU readers (at the end of the post.) We don’t bite, I promise!
Thanks for a great post. I agree with much of what Lisa and Jennie say (in fact, will recommend it to fellow editors).
I too coach writers, but have a somewhat different perspective. I also do developmental/diagnostic edits on finished and semi-finished manuscripts, and these can be just as helpful. I find that the work usually becomes a mixture of coaching and editing. The key, I think, is that the coach/editor needs something to work with, real pages. A writer often discovers her story by writing it. The ones who founder are the writers who have good intentions and big ideas, but aren’t actually writing it down, imperfect as it may be in the early stages. It’s my experience that just signing up for coaching does not make this person write their story and turn out a winner.
Respect for the author’s vision may be another difference. That Beautiful So-What likely comes from the writer’s heart and soul. Let’s work with that. It may need more characterization or structuring, a stronger climax, but not false plot points to hit the genre formulas (unless the writer wants to do that). Perhaps think of coaching as an MFA in a can, an intense study program to develop your unique talents.
To address Paula’s concern, 200 pages in-progress might be just right. Her vision is clear, it sounds like. She’s on track. She’s putting in the work. Her questions might be: Am I feeling good about this, do I know where I’m going, or am I flailing at this point? If the latter, call a coach/editor. Just don’t be too rigid about rewriting (but of course you’re not, that’s part of being a serious writer).
And where to find good editorial coaches (besides Lisa, Jennie, or [ah-hem] myself)? For starters, peruse the listings at BAEF (Bay Area Editors Forum), EFA (Editorial Freelancers Assoc.) and CE-L (Copyeditors’ List). If you want some who are rigorously tested and vetted, try Editcetera, a top-notch agency. (Google for addresses, WU doesn’t seem to like links.)
It’s a long-term relationship, so I agree, don’t marry on the first date. Work with the coach/editor for a bit, maybe a single chapter and a chat. Feel for the right chemistry. It can be exactly what you need.
All exceptionally well said, Mary — and thanks for giving those coaching resources. We forgot to do that, and these are all excellent ones. I would also add NYeditors.com and bookdocs.com.
Lisa,
As always you’ve herded us to an important body of water and suggested we drink.
Having bushwhacked through a number of drafts on my first novel years ago and later having hired a development editor, I roundly encourage all aspiring writers here to consider professional feedback in as many stages as they can afford.
Barry’s cautions above are notable, because art is a subjective realm and consultants/coaches are self-declared. The potential for entering a squishy swamp exists. Definitely do a consult first and know that you can bail when things don’t pass the smell test. We writers are hiring them. We can end the relationship at any time.
Richard Ford’s latest book, Canada, has a two-page acknowledgement of those who helped him. And he’s a Pulitzer winner. Going forward, I will always seek help with a writing project.
I morn the shift of publishers and agencies away from their original tasks of developing careers. This reflects, I think, the general decline of mission in our culture’s responsibility at the corporate level level. As in many other fields, the writer is expected to come with perfect product, at HER expense, while the publisher concentrates on business only.
Thanks, Lisa, for this great encouragement.
And Jennie,
I, too, have grossly missed including your part in this fine piece. Apologies.
Hi Tom Pope.
To anyone who’s read this far in the comments, I align myself with Tom. Especially when he says, “I roundly encourage all aspiring writers…to consider professional feedback….” I absolutely agree with this: it’s foolish, in fact arrogant to think one’s work won’t benefit from a professional’s reaction. The best advice I can offer to anyone seeking help is to ask the expert for a short line-edit of something the writer has written. Doing this gives the writer a sample of what he or she will be buying. It’s not conclusive, but it’s useful.
But the sentence of Mr. Pope’s that I quote– writers should “consider professional feedback”–ends with “in as many stages as they can afford.” I don’t want to appear negative (I’m not), because I’m sure there are people who benefit from help before they start a novel. The problem is, almost everyone has an idea for one. For this reason, I happen to think someone who’s truly serious will have at least started on a manuscript (as we all know, the first fifty pages are the most important). Otherwise, the writer has nothing to submit as a sample for the editor or coach to use in demonstrating what s/he will do.
Excepting well-known editors and book doctors, I would think an expert unwilling to offer a free line-edit of five or six pages was asking me for too much trust.
Thanks so much for the info about what a writing coach does. When I edit for a client, I often segue into coaching as well, since I think it is important to support the author on many levels. Since I have no credentials as a coach, I don’t promote myself as such, but I do have credentials as an editor, and my clients seem to like the fact that I offer more than line-editing.
Great article/interview, Lisa and Jennie!
I have a wonderful coach, Mary Rosenblum, who has enabled me to finish my book which has been accepted by a publisher and is now in the midst of the publishing process. She is everything you say a good coach should be. She encourages when I’m low, praises the writing that is well done, points out what’s not well done and helps with getting it corrected. She edits and proofs the manuscript as well.
I have ADHD and have trouble with time management, focus and hyper emotions. Mary deals with it all with grace and humor. I wouldn’t have a book getting published if it weren’t for Mary.
Yes. A great coach can make an incredible difference! :-)
What a lovely story! Congratulations!
Great advice. I used a writing coach on my first novel and she saved me months of anguish. I sent her the first 5 chapters after I thought I had polished them to perfection. I wanted guidance before I invested too much time going in the wrong direction. Well, I was far from perfection. Her advice saved my butt.
I like the idea of a coach. Jennie’s site says that her next available Creative Strategy session is Friday Feb 14, which I’m guessing has already passed. Is she still doing these?
Hi Elle,
Oh boy — that’s a mistake. I can do Creative Strategy Coaching sessions the last week of September and in October.
I read with great interest this morning … and thank you Lisa for offering the novel genesis worksheet, and Jennie, for a trial period. I almost always never show anybody anything until it’s as good as I can make it … and except for a few trusted writers, tend to do my brainstorming while walking the dog or doing the dishes. I am going to do another revision on what I thought was a polished novel, but after a year off, I see with more clarity some of the things that are missing that could enrich the book … and I’m trying to figure out how someone who doesn’t know your book can help you with that?
I am always growing when I write and read and do my studying, but I make quantum leaps when I have structured coursework.
A book coach would make it her business to learn about your whole story, either through reading the ms., reading a summary, or talking to you.
Looking forward to reading “Wired for Story,” so thanks for providing the link!
I think I am one of the lucky ones (and believe me when I say how grateful I am) that I have an agent who helps me through the editing process…if I ask. If I don’t ask, he leaves me alone, trusting me to make it work on my own. But the second I ask for any help, he is there to offer it, whether global or line editing. I have discovered through the years that I agree with about 80% of his advice on any given project, so it is definitely advantageous to have another pair of (professional) eyes read over my WIP.
As an aside, I do want to remind all writers here that some writing groups are better than others. One I was with years ago was the reason I found an agent. They painstakingly helped me over obstacles and guided me through the pains of story evolution. However, I moved, and later joined another group that absolutely did not work for me. Writers groups are just like editors or agents: some click and others don’t. But if you find one, or put together one that works for you, then go for it. It really can take you from ground zero to a place you never believed imaginable.
Oh, yes. I know all about that mistake. In fact, it was Jennie who saved me from additional months of torture. With her gentle help and guidance, I was able to finally put my memoir to its long-awaited death. I had no story. It was just a bunch of chapters about my depressing life growing up in an alcoholic home. I was crushed at first, but after I stopped feeling sorry for myself, I had an idea for another story – one that wasn’t about me. I didn’t have money at the time to hire a writing coach, so I re-read Wired For Story and applied the lessons and really honed in my story. I had so much more fun writing because I knew what I was writing about. I had a purpose! So far, the book is doing pretty well and it just won an award.
The moral of the story: listen to Lisa Cron she knows what she’s talking about. ;)
Simone! What great news! Congratulations on this huge achievement!
“learning to ‘write well’ is not the same thing as learning to write a story” –
esp appealed to me, thanks!
Just writing to say how much I enjoy your work on Lynda.com. Even though I’ve been doing this for a bit — a rather big bit — there’s always something to rethink. Your presentation here, in this note, and your class on Lynda have caused me to squirm a little and that’s altered my POV. I see my work differently. You’ve stimulated my thinking. You’re somewhere in everything I write. Thank you.
This is very interesting. It definitely intrigues me. I am in the midst of a second draft of an epic fantasy right now. I share it with a writer’s group and a few friends, but…revising is challenging. I think it would be pretty great to have a book coach look over my draft and tell me about what work would best serve the story, and get to the heart of what I’m really trying to do – not in the fifth, sixth, or seventh draft, but the second!
I would be curious to know what sort of arrangement could be made for working with a book coach over a second draft. Also, what rates are offered for book coach services?
Thanks!
Hi C.S. Both Lisa and I have some programs and rates posted on our websites which could be a start for you to understand what might be most useful for you. One of the readers of this post who is also a book coach posted some great links for book coaching websites, which will have a lot of information. Good luck with your work!