Theresa,
I’m just wondering if you’ve ever had this problem. How do you tell a writer that their work reads exactly like a piece of published fiction without them thinking you’re calling them a thief?
Dyanne
Hi, Dyanne, and thanks for the question. I’m going to recast it a little more broadly, though, because I think your question hits on a larger issue regarding delivering any kind of negative criticism. We’ll answer your specific question, but we’ll also look at the bigger picture and try to give you some tools for similar situations.
It can be difficult to deliver bad news to a writer, but sometimes, it’s the kindest thing you can do. No author would want to spend a year or more completing a manuscript only to learn that her plot is a near-perfect duplicate of an existing published novel. But although she may eventually come to thank you for your intervention, in the short run, she may have some tricky emotional terrain to navigate.
So let’s start by answering the specific question. When someone submits something to me that is too close to a published work, I do three things. I offer whatever relevant praise I can, I tell the truth, and I offer some suggestions on how the author can change her story to distinguish it from the published work
“Your story is well-written and entertaining. The characters are solidly crafted and you have found some fun and unique ways to breathe life into this setting. But the plot is very similar to a book we recently acquired. If you’re interested in revising your work to distinguish it from this other story, I would recommend you start by….”
Most people want their stories to be original and fresh, so while this may be bad news at its core, it’s also helpful for them to hear it. It may be that they didn’t realize their story was so close to the other. After all, with approximately one hundred new romances published every month, none of us can keep up with it all let alone keep it all straight. And letting them know exactly where it’s duplicative and where the strengths lie will help them figure out how to transform their stories.
So that takes care of the specific question. But there’s a larger issue here, I think, that might be phrased as, “How do we deliver bad news without getting attacked in return?”
You might notice that when we were telling the truth about the duplicative story, we layered the truth between a bit of honest praise and the helpful suggestions at the end. This is the best method for delivering difficult news in a constructive, solution-oriented manner, and it’s referred to as the sandwich method. You put a bit of breading on the outside, and the meat of the problem on the inside.
There are several reasons this method is so effective. First, by opening with the good news, we soften up the audience and make them more receptive. It’s not mere flattery, remember, but honest praise, and letting them know they’ve done something right can soothe their worries in advance. Plus it can give them a bit of confidence to deal with problems. Don’t underestimate the importance of confidence when dealing with creative tasks. It can be the difference between successful revisions and writer’s block.
Second, the human mind processes information in very particular ways, and the order in which the information is received can have a profound impact on the way it is processed and retained. Items in the middle of a cluster won’t be overlooked, but they will lack the same impact of the items at the beginning and end of a grouping. They are muted merely by their placement. If you’re trying to avoid an emotional explosion, work this muting effect to your advantage by placing the emotional trigger in the middle of a cluster. (Hint: This also works in fiction. You can hide clues in plain sight by burying them in the middle of a paragraph or even in the middle of a long sentence.)
Third, by ending with constructive ideas for solving the problem, you demonstrate that the problem can be solved. This is another confidence builder, but more important, it has the immediate effect of engaging the creative mind so that no blocks or freezes can take hold. Our minds might shy away from perceived failures, but they gravitate toward puzzles. End with brainstorming or useful, positive questions that create a puzzle, and you’re less likely to end with arguing or tears.
In the end, though, much depends on the character of your writing partner. Some people are eager to learn and grow. Some want nothing but praise, while others need to be challenged or even flogged a bit. Some will become emotional no matter how hard you work at being gentle, and some will be champions in the art of not taking it personally. Over time, you will come to understand what your critiquing partners need to hear, just as they will learn the same about you. Respect those needs, and don’t be shy about cutting loose a critiquing partner if they can’t or won’t respect yours in return.
Now it’s your turn. What strategies have you developed for delivering bad news to a writing partner?
Theresa
After earning degrees in creative writing and law, Theresa Stevens worked as a literary attorney agent for a boutique firm based in Indianapolis where she represented a range of fiction and nonfiction authors. The lure of the courtroom led to a nine-year hiatus from the publishing industry, but now Theresa is back as Managing Editor for Red Sage Publishing, a highly acclaimed small press. Her articles on writing and editing have appeared in numerous publications for writers. Visit her blog at http://edittorrent.blogspot.com where she and her co-blogger share their knowledge and hardly ever argue about punctuation.
Carrie Spencer, writing romantic comedy and goofy middle-grade, personifies her alter-ego - 
Hi Theresa,
Great advice!
Thanks, Tracey
Posted by TraceyDevlyn | September 18, 2009, 5:15 amHi Theresa and thank you for (another!) great post. I love the idea of burying the clues in the middle of a paragraph.
Posted by Adrienne Giordano | September 18, 2009, 7:01 amTheresa -
I think I almost always come across as a little too critical, especially in contest judging. So I try to ask questions instead of saying “you should…” I also try to use “you might consider…” when I have a thought/feedback that may or may not work for the writer.
Just hope my CPs aren’t considering “cutting me loose” any time soon!
Kelsey
Posted by KelseyBrowning | September 18, 2009, 7:22 amSorry. You’re stuck with me.
Posted by Adrienne Giordano | September 18, 2009, 10:38 amLOL – we’re super glued, honey
Posted by Tracey Devlyn | September 18, 2009, 4:13 pmIn a freelance copyediting project, I came across clear plagiarism by an already-multi-published author (non-fiction). The in-house editor I was working with wanted me to phrase it thus, which I’ve used repeatedly since then for a variety of comments: “I’m concerned that the reader will be confused…” While not remotely satisfying to me, I like that it puts the focus on how the reader will react to it. But mostly, I do what Teresa talks about: load detailed praise at the beginning, concerns in the middle, end with encouraging words.
Posted by Natalie | September 18, 2009, 7:38 amI too do the sandwich method at work (you really hustled out there! but don’t forget to charge extra for sour cream….other than that, you’re doing great!) and I usually try to do the same when I crit…(great characters! you might want to try to make sure his eye patch stays on the same eye throughout the story, but other than that, enjoyed reading it!)
the sandwich method works well for almost all facets of life really…lol…
carrie
Posted by carrie | September 18, 2009, 9:39 amOh, those pesky eye patches! Darn things never can stay over one eye.
I think the important thing, when dealing with creative projects, is to end not just with praise, but with positive, creative brainstorming. You want to engage the problem-solving subconscious mind before the negativity takes hold.
I admit, I use “this might be confusing” to lead in to bad news sometimes. It puts the focus on the work but it’s a soft attack, not an outright assault.
Theresa
Posted by Theresa Stevens | September 18, 2009, 12:41 pmLet me down easy, Theresa. Just kidding. I can handle it.
Posted by Wes | September 18, 2009, 1:35 pmTheresa,
Thank you. You actually answered two questions for me. Let’s say I’ve gotten pretty good at telling who really don’t want to hear anything that anyone has to say no matter how the sandwich is made. Some want only the praise like you said.
Considering that I alwasy start off a critique by praising something in the mss. I’ll try to begin the middle by saying, this is only my opinion and I could be wrong. Then I’ll end by naming the things they did right again. But the reaction seems to still be focused on the ONE thing that I may have said, Do you think such and such would work for you? I always end by saying remember this is your work and not mine.
I’m really glad that you’re doing this column. Your answers are always so
insightful.
Dyanne
Posted by Dyanne | September 18, 2009, 1:50 pmGood stuff –
Thanks, Theresa!
G.
Posted by Genella deGrey | September 18, 2009, 3:09 pmDyanne, if they’re asking, “Would this work for you?” then they might be trying to get some help with fixing the manuscript. Can you go into these sessions armed with suggestions? Brainstorming solutions is an important part of a writing partnership.
If they’re not looking for suggestions, but want only praise, then you’re in a different situation altogether. Some folks want readers, and nothing but readers. If they can’t get to a readership via usual publishing channels, then they’ll use their critique groups as reading groups. These are the same folks who write something, bring it to group, ignore all suggestions, get annoyed by honest critiques, and never bring revised chapters but turn to entirely new stories instead.
If that’s the case, then maybe it becomes about something other than how to deliver criticism. Maybe it’s about how to manage the relationship. Do you have time to read and praise her work? Does she provide you with valid feedback on your work? Are you close to this person for other reasons besides writing? The relationship might be worth preserving, in that case. But if not, maybe it’s time to scale back and lighten your own frustration with the situation.
I once had a partner who fit this mold exactly. At first I tried to challenge her to improve, but that didn’t work. At all. I don’t recommend trying it. If they don’t want to hear about improving, then there’s nothing you can do about it.
Theresa
Posted by Theresa Stevens | September 18, 2009, 3:32 pmHi Theresa!
Murphy playing catch up – great post!
But um, I just about had a heat attack when I read your question of: what strategies have you developed? Holy crapatola! No one told me I had to have a plan in mind to deliver bad news. Sorry about that critique partner *waves* if you’re reading this post.
Geez, now I’m feeling bad about all my inserted comments just thrown out there with no smiley faces and absent of any ‘you may want to try’ or nothing. Oh hell, what am I saying? I don’t feel bad. How could I? I’m being totally honest. And if I’m to be honest – I’m claiming the creed of The Burning Bush on this one. (Imagine a really deep voice speaking here) ‘I am what I am.’ Sue me. (Okay, TBB didn’t say that last part
, but I feel after all these years, this small statement needed some oomph!) And you know? If your willing to try and improve on The Bush you’re pretty shameless, right? 
So, come to think of it, I guess I just lucked out with my CP. She accepts my brutal honesty and, when warranted, has challenged me in further discussions on any given point she disagrees with. I guess my strategy, if you could call it that, is to be flexible unless I know for sure that I’m right. When I’m 100% positive on something, I hound, demand proof and throw out pop quizzes to make sure she hasn’t said she’s changed something and didn’t.
Uh oh! Theresa, I think I better go and order her some flowers…
Murphy (insert skulking away here)
Posted by Murphy | September 18, 2009, 4:19 pmI can sympathize because I’ve gotten so comfortable with Kelsey and Tracey (and Petrina!) that I tend to just lay it out there. I think though, we’ve built such a comfort level that we know the comments come from a good place and are not meant to tear down the work.
I always love it when I get a critique from Kelsey and she opens with “Don’t freak.” LOL. It usually means she’s uncovered something really good!
Posted by Adrienne Giordano | September 18, 2009, 6:05 pmHi — I just discovered this site, so this comment is coming in pretty late.
I’m a writer. From my perspective, I wouldn’t put this in the bad news category but rather the useful information category. I can’t possibly read all the books that are out there, and if you know of a plot similar to mine that’s already published, then thank you thank you thank you for letting me know!
Plot, after all, is just one universe of “things” that happen to characters at some place in some time. If the characters and world are solid, as you say, and interesting, then there’s a good chance I’ll be able to write a different story around these characters and this world.
A different what if?
Think of it like an actress nominated for an Oscar. If her friend found out the day of the awards that a fellow nominee was wearing the same dress, wouldn’t it be better to tell than not tell? Better bad news than disastrous news!
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Posted by Henry S. Walls | February 22, 2010, 1:42 pm