Writing for Anthologies 2, With Writer and Editor Anne Witkavitch

This week, we continue our dialog on writing for the currently hot anthology market. Here's the next installment from editor and writer Anne Witkavitch, who compiled Press Pause Moments: Essays About Life Transitions by Women Writers, from the Press Pause Project.

Press Pause Moments

AA: How did you select and compile the stories—what did you look for?

AW: Professionalism, quality of writing and diversity of stories were the most important criteria for me.  The initial weeding-out process was pretty easy—it was clear that many people respond to every call for submissions put out there, regardless of whether their topic fits! Then I started reading the remaining essays for content, voice, pacing and tone. What I also looked for was presentation: Did the writers edit, proofread and submit their best work? Was their e-mail professional? Did they follow the guidelines, including word count? Finally, I wanted to have diversity among the types of transitions represented. Many people assume an anthology like this one would be geared toward midlife, but I believe we experience transitions throughout our lives and at all ages. I could not have done this without my second reader, my college roommate, Ann Zuccardy, who is also one of the contributing writers.

For more information, visit Press Pause Moments or Amazon.

Writing for Anthologies, With Writer and Editor Anne Witkavitch

A post or two ago, we discussed writing for anthologies, a current hot market. From now 'til year-end (can't believe we're nearly at the close of 2011), we'll talk a bit more with editor, writer and instructor Anne Witkavitch, who compiled and edited the new anthology Press Pause Moments: Essays About Life Transitions by Women Writers. The anthology began with the Press Pause Project.

AA: What prompted you to start the Press Pause anthology project?

AW: I was frustrated. I’d completed my MFA in professional writing and left the corporate world to go out on my own so I could pursue my writing. Though some good things were happening—I had landed a gig as a contributing writer and blogger for TravelingMom.com and had a couple of articles accepted for a yet-to-be published anthology— I had not yet achieved the big goal, which was publishing my first book. While I kept receiving encouragement from well-respected publishing pros, I got discouraged reading news stories about celebrities and reality stars who were getting their books published while mine sat in my documents folder, collecting rejections. A writer friend had worked on an anthology, and I called him with the classic, “I’ve got a crazy idea and want to see what you think.” He loved the idea of me creating a women’s anthology focused on life transitions, a topic I’d already been speaking about through my Press Pause Now retreats . He walked me through the process, and then I wrote and distributed the submission guidelines, got my first submission and panicked—women writers actually wanted to be a part of this project! The book became real to me. I was ecstatic and scared at the same time.
 

For more information, visit Press Pause Moments or Amazon.

"Stuck for Ideas? Let Your Work Go to the Movies"

I grew up watching offbeat Saturday afternoon westerns like "Sky King" on TV. Not very original and highly formulaic, series like these featured stories a kid could snack on without spoiling her dinner. They were also instructive on plot, setting and a bit of character development. Now, with Comcast and Dish Network, the prospects of finding old and new flat screen gems from all over the globe are virtually limitless. If you're looking for story ideas, try the "it's so old, it's new" or the "it's so new, it's new" approach.

From A&E to the History Channel to Turner Classic Movies, today's cable fare offers a nearly infinite variety of old films and true stories (check out international news channels like ITN, too) that if studied and emulated (not plagiarized) for their strengths can break writers' block and reinvigorate a writing slump. The key is to select the salient story points — plot twist, offbeat setting, funky character — and consider how to bring these into the 21^st century a la Kenneth Branagh setting Shakespeare's As You Like It in Japan (okay, the reviews are mixed on that one, but you get the point). Speaking of Branagh, on the modern side of the coin, check out Wallander, a British detective series set in Sweden. Emmy-winning Philip Martin's direction in this stark, minimalist setting is refreshing.

Don't limit your search to movies. Stories from genealogies to "Antiques Road Show" can inspire fact-based stories, often the best kind.

Tip: While the classics are great (The Hunchback of Notre Dame just appeared on TCM), look for offbeat stories. A recent showing of Joan Crawford and Leif Erickson in Straight Jacket (also on TCM), had a wonderful twist ending that surprised even a fan of Alfred Hitchcock's Ghost Stories For Young People. But watch the difference between drama and melodrama — it's a fine line.

"A Second Cup of Coffee — and the Ruthless Critique"

Last week we discussed the value of the unsparing writing critique — one that's honest, incisive, direct — and comes from someone you trust. But what should you look for in a critique partner?
Small critique groups (or one on one) done face to face are like dating. Whom do you know with these qualities:

• Willing to put time and effort into evaluating and analyzing
• Is well-read in various genres
• Has some familiarity and experience in your genre
• Knows and pays attention to various aspects of a story (plot, tone, voice, characters)
• Addresses the critique as art and science
• Has writing and/or editing credits
• Is trustworthy with your work and has your best interest at heart

A list like this clearly eliminates many options upfront and may not be a peer review or partnership. You may opt to work with someone from whom you receive but don't receive feedback.

Another reason to join a critique group besides getting feedback is learning to give it, because you learn to see the same foibles in your writing that you find in others. Put into practice, this hones your writing skills. For mutual critique sessions and groups, consider these:

• Are group members generally open to your suggestions?
• Is there a balance between the members, with different strengths and weaknesses to learn from?
• Is the group moderated so as to maintain order?

Generally, critique groups, like toddlers, scamper away after a year or two. One way to tell whether your group or mentor is working for you is that your work is better for the effort.

For those wondering about cost — there doesn't have to be one. Some peer reviewers don't have as many writing credits, but still offer insights that improve your writing. As to groups, most are free, though mentoring relationships generally aren't. Still, these can be worth it. In choosing a mentor, ask the same questions you would when hiring an editor:

• How long have you been doing this?
• Whom have you worked with?
• What genres do you work in?
• What's your professional background, and where has your work been published?
• What's the fee structure?

A resume, bio and list of writing credits should provide this information.

Tip: Meet informally first, maybe with a sample of work to critique, and leave yourself room to opt out.

Resources:

• For more information on critique groups, visit Writing World.
• For novelists looking for the best source ever on critiques, visit Your First Page.