How a Mom-Writer Added 'Book Coach' to Her Repertoire

Today’s blog post comes to us from Author Accelerator certified book coach Janet Fox.

Janet Fox

Certified Book Coach

I’m a kidlit writer, and now a book coach. When I discovered the Author Accelerator Book Coach Certification program it was a “lightbulb” moment. I knew it was something I wanted to do, to the point of building an entirely new side career. To complete and become certified through the program I was required to work with at least two different writers, through two practicums.*

For the first practicum, one of the writers I chose to work with was my twenty-eight-year-old son, Kevin. He writes young adult and new adult science fiction, ages and genres I want to coach but haven’t written in myself. I chose to work with him in part because it would be good for me to practice in those areas, and in part because I was confident in his writing skills, but because he’s not yet published perhaps my insights would be helpful to him.

In fact, the experience of being coached, and his own already-strong ability to see what needs revising in what he reads convinced him to sign up for book coach training, too, and I’m thrilled.

But initially when I took him on as one of my practicum clients, I’ll admit I was a little anxious. How would we work together? Would I be able to critique him without “prejudice” and without emotion? I was worried about how this interaction would play out.

We both learned a great deal from the experience, and I think it speaks to the entire coaching process, so I invited him to do a Q&A with me, hoping it helps you see deeper in the coaching experience.

Janet: When I asked if I could coach you through my first Practicum, what was your reaction? Did it make you anxious?

Kevin: It didn’t make me anxious, no more or less so than any other creative critique. At this point, you and I have worked and collaborated on so many various projects, this felt like just another team effort. I was also happy to receive feedback from you and offer you a chance to practice the next stage of your career.

Janet: Aw — that is so nice of you! I have to say, it gave me a lot of comfort to work with you for the first Practicum — I was actually less stressed than if I’d been working with someone I didn’t know well. And yes, we have discussed my own work in the past (you are extremely helpful) and I’ve tried to at least give you the craft vocabulary to go forward with your own career.

That said, how did it feel getting feedback from me?

Kevin: Again, I’ve asked you for your opinions on my work many times. It was, frankly, another day at the office so to speak. You’ve never been one to mince words when it came to your opinions, and neither am I.

I remember I had first taught myself how to edit movie clips, and I was so proud of my accomplishment. I was fourteen at the oldest and I just wanted to show off my new skill set. Of course, at this time, I was using clips from other films to piece together my own stories (dubbed by me and everything, too). I was so proud of my accomplishment. So, I showed it to you. You pointed out how the scenes were not unified, how they didn’t mesh together properly (because they were from tons of different shows and films), how the clips were not my original work, and how I should really try to make my own footage. It hurt but it taught me to look at my own work critically. Ever since then I really have not expected anything but honest feedback from you, which is something I now appreciate.

So, what is the primary difference, in your mind, between MOM mode and coach mode?

Janet: Such a great question. Mom mode would probably have been more “teach-y”. I would have reverted to trying to educate you about this or that, about characterization or scene-building. (Never mind that you already know a lot about those things.)

Coach mode is more about listening. And reacting but letting you (or the client) take the initiative for discussing any revisions or next steps. I made a few suggestions but I tried very hard to keep them “slight” because I think that fosters greater leaps on the part of the client.

Also, Mom mode is more emotional. I had to tell myself, before we got on the phone, to be careful not to get emotionally invested in your responses. It was great training, in a way, because I think a lot of coaching is about restraint, about leaving space for the client to grow and learn so that the client knows it’s still very much their story.

Kevin: How was working with me different from your full manuscript practicum?

Janet: Another great question. With your practicum I only had to read a few chapters, and comment on those chapters. I haven’t read your whole manuscript, so it was a little harder to give you deep feedback. I found it interesting to work that way, but also less satisfying, because after I read my other client’s whole manuscript I had an entirely different take on the feedback I wanted to give her.

I discovered, for example, that what I’d thought from the early pages were her character’s motivations were actually quite different in the later pages. That made it easier for me to identify the larger structural issues she needed to address. I suspect I’d feel that way after reading anyone’s whole manuscript, yours included.

I currently offer partial “quick takes” of early pages to prospective clients. So, this makes me wonder — is that a good way for me to work?

Kevin: Quick takes are best used, in my opinion, to gauge the interest of agents and editors. Most agents I know and talk to say the first page or two are the most crucial for their attention (literally judging a book by its “cover”). Regardless of my opinions of the efficacy of the practice in identifying outstanding writers, all parties involved should be aware of this, and prepared to work with it. Thus, quick takes can offer a good deal of reactionary information that might help an author tailor the beginning of a novel to snap a bit more in the eyes of those who can help sell it.

Janet: Oh, that is so true. I hadn’t thought of it that way. It might be a way to offer a client a different perspective. I’ll have to think about how I offer this to my clients. (Side note: as a result of this conversation, I have added some new features to my business, bigpicturestorycoach.com.)

You’re taking the coaching course now. Did it help you as someone giving feedback to go through the process from the other side?

Kevin: Like many — book coaching is new to me in name alone. Essentially, book coaches are editors who invest themselves more personally in the work and journey of another writer. I think I would have picked up on the therapist/editor/guide roll of a book coach eventually. I remember my first experience with an edit letter, it made no sense to me. It took years of school and workshops to understand the mistakes that were pointed out to me in that letter. A book coach guides a writer through the process of understanding, as well as delivering the edits. I suppose the answer I’m trying to give is the realization that a book coach is a mentor for hire came sometime after the Practicum we did together — though it certainly played a role in the revelation. So — yes.

Janet: That makes me happy, that you could see both sides, and that it has hopefully helped you in both receiving and giving the feedback. Is there anything more you’d like to add about the experience of working mom and son?

Kevin: I feel we have a very unique relationship: It worked because we are both dedicated to the art, we both practice, and we’re dedicated to improving ourselves. From the moment I started splicing together film clips to tell my own stories to the novels I now write, you’ve taught me to receive criticism. I think a lot of artists must learn that far later in their journeys — I’m not sure which is harder. Having that experience under my belt, having that mindset, and expecting criticism when I share my work, all aided on my end to create an environment where you and I could work together professionally. The simple truth is, the last thing I need when asking for a critique is praise (it softens the blow, don’t get me wrong) but I don’t improve through praise. No pain, no gain, right?

My final question is this: What do you think we learned from this discussion about how to choose clients? What are the questions we should ask prospective clients that might enlighten us as to the nature of their commitment? What are the types of answers we should look for?

Janet: Those are such good questions. We do have a process in place for that (thank you Author Accelerator!) Ours was certainly a unique situation, but also informative in helping me to step back and realize that the most important aspect of coaching, I believe, is being able to listen carefully and accept but be able to offer feedback that is non-judgmental. And that’s an important aspect of being a good parent, too.