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      "author": "bryancollins",
      "permlink": "do-this-if-you-want-to-dramatically-increase-your-odds-of-success",
      "title": "Do This If You Want To Dramatically Increase Your Odds of Success",
      "body": "![0_AuK3d8UjJNkP_sNv.jpeg](https://cdn.steemitimages.com/DQmSZz5kwYmWmiauHXZCioAmpv7mVaxiruE4EJ9eiwZ3tBU/0_AuK3d8UjJNkP_sNv.jpeg)\n\nMy calves felt like someone had covered them in gasoline and lit a match. I could almost feel my chest collapsing on my lungs. And I would have given my firstborn for a sugary drink.\n\nI looked at my watch.\n\nStill 13.1 miles to go.\n\nI was a long way from the finish line of the 2016 Dublin City Marathon, but I was done.\n\nI couldn’t understand what was happening.\n\nFor months before the big race, I’d run eighty-plus kilometres a week, all of them hard.\n\nTempo sessions. Intervals. Long runs. Recover runs. I ticked all the boxes.\n\nI was confident I was fit enough to run the marathon in three hours, thirty minutes — some thirty minutes faster than my personal best.\n\nNow my body was falling apart.\n\nSo I stopped running and began to walk.\n\nA runner is never more despondent than when he or she has to walk.\n\nI shook my head and tried running again, but I managed only another 500 metres before slowing down.\n\nFor the next two hours, I ran and walked to the finish line.\n\nI looked up at the red timer hanging above me: 4 hours, 1 minute.\n\nWhen they handed me a medal for finishing, I took it off in disgust.\n\nA year or two beforehand this race time would have delighted me.\n\nSince then, I’d invested countless hours in the track and on the roads to hit a target time for my third marathon…and I was half an hour late.\n\nRunners hate to be late.\n\nI didn’t know it then, but I’d trained too hard for my fitness levels and left nothing in the tank for race day.\n\nI’d trained way beyond a margin of safety.\n\n## What is a Margin of Safety?\n\nBenjamin Graham, one of Warren Buffet’s mentors\nIn 2016, I’d never heard of Benjamin Graham.\n\nGraham was an American investor and economist. Born in the U.K. in 1894, he warned no investor can ever eliminate the risk of being wrong.\n\nThey can, however, insist on never overpaying no matter how exciting the investment. He called on investors to use a margin of safety.\n\nIt’s essential, the gap between the cost of an investment and its intrinsic or natural value.\n\nThink of a margin of safety like a seat belt.\n\nIdeally, you’ll never need to put it to the test, but having a margin of safety in place helps prevent potential misfortunes and even disasters. It also allows for imprecision and mitigates bad luck.\n\nIn my case, I should have reduced my weekly mileage and run a little slower in the weeks leading up to the Dublin City Marathon. That way, my legs would have felt fresh on race day.\n\nHow Warren Buffet Earned Millions With a Margin of Safety\n\nWarren Buffet knows how to apply a margin of safety\nBenjamin Graham passed away in 1976, but Warren Buffet cites him as a key influence.\n\nIn a remembrance for Graham, Buffet wrote,\n\n> “[Graham’s] counsel of soundness brought unfailing rewards to his followers — even to those with natural abilities inferior to more gifted practitioners who stumbled while following counsels of brilliance or fashion.”\nInvestors like Buffet worry about risk. They don’t want to lose all of their money on a single or risky investment. When evaluating a company or investment, Buffet always applies a margin of safety.\n\nFor example, in the spring of 2002 Buffet read the annual report of PetroChina. He determined the Chinese oil and gas company was worth $100 billion. The company was selling for $35 billion.\n\nBuffet calculated a margin of safety of $65 billion, so he bought PetroChina for $488 million and sold it in 2007 for a $4 billion profit.\n\nManaging Risk in the Real World\nOf course, we’re not all Warren Buffets in the making, but successful professionals still apply a margin of safety to their work.\n\nRather than investing all of their money in a single stock or even a cryptocurrency, successful investors pick multiple stocks, funds and coins.\n\nThis way, if one coin or stock drops, investors are less likely to lose because their other investments are unaffected.\n\nIn other words, loss avoidance is the cornerstone of their investment philosophy.\n\nSmart business managers knows how far they can allow sales to fall before breaking even. This potential fall represents their margin of safety.\n\nSimilarly, engineers design bridges to carry weight in excess of what’s permitted on the bridge itself. They also design tall buildings and skyscrapers that sway in wind streams and turbulence without collapsing.\n\nThe Eiffel Tower, for example, sways up to 13 centimetres in the wind to the alarm of many new visitors.\n\n## The Problems With Having No Margin of Safety\nA greedy short-term investor would have put all of his or her money into Bitcoin this past December when it was worth nearly $20,000. However, he or she would have lost half of the investment by the end of January when Bitcoin plunged below $10,000.\n\nIn fact, several day traders from South Korea posted pictures online of their smashed laptops, monitors and even baths.\n\nInstead, a more prudent investor would have invested only 5 to 10% of his or her assets into cryptocurrencies as a whole. Alternatively, he or she would spread their investments over several coins, like Ethereum.\n\nThis way, they’re less likely to feel like smashing up the bathroom because of Bitcoin’s dramatic price drop.\n\nYou might not be an aspiring Warren Buffet, but you can still apply this mental model to many real-life situations. The trick is to keep away from activities where you have little to gain and everything to lose.\n\n## How to Apply a Margin of Safety to Your Work\nLong-distance runners typically put in anywhere from 50 to 150 miles a week while training for a marathon. This weekly mileage forms part of a three- or four-month training block, and it varies depending on how much punishment their bodies can take.\n\nAfter a certain point, diminishing returns sets in for every athlete. These extra junk miles carry no psychological benefits. They also dramatically increase the athlete’s chance of injury.\n\nSo if you’re training for a marathon, finish each training session with something left in the tank. Thanks to this margin of safety, you’re less likely to feel exhausted and want to walk on race day.\n\n(Never walk!)\n\nYou’ve little to gain by sweating out another ten or twenty miles a week. You are, however, far more likely to pull a hamstring or calf muscle and even miss the big race due to overtraining.\n\nIf you’re running a small online business, keep two or three month’s worth of cash reserves in your bank account. This way, if you face an unplanned expense or revenues fall, you’ll still be able to pay your bills.\n\nIf you invest all of your cash flow in Facebook ads, how will you pay for web hosting or your email service provider if those expensive advertising leads don’t convert?\n\nEven if you don’t care about investing, cryptocurrencies or Facebook ads, you still can apply a margin of safety to other kinds of work.\n\nIf you’re a busy corporate executive, commit to your boss and team that you’ll deliver a key project by a certain date. Now you’ve little to gain by working on this project right up until the delivery date. Instead, push yourself to finish it early. This way, you have a margin of safety if something unforeseen happens.\n\nA margin of safety is useful for creative work too.\n\nFor example, many freelance writers struggle to pay the bills because they rely on a single gig or client. If the editor doesn’t have a commission, the writer has to scramble for new work.\n\nPlus if you get the flu or an editor cancels next month’s job, how will you keep your editor or your bank manager happy?\n\nInstead, you could write for three or four publications or clients rather than relying on one. You could also cultivate a habit of outlining ideas for future articles in advance so you’re not overworked. These ready-to-go outlines and additional income sources represent your margin of safety.\n\n## Master Your Inner Game\nIt doesn’t matter if you’re an investor, business person, athlete or artist; you will always face factors outside of your control.\n\nThe market could rise or fall, your editor could cut his or her budget for freelancers, or it could rain heavily come race day.\n\nTake heart from Benjamin Graham.\n\nHe wrote that,\n>  “investing isn’t about beating others at their game. It’s about controlling yourself at your own game.”\n\nWhether you’re an investor, athlete or artist, you can still control your inner game.\n\nTrain hard enough to achieve results but not so hard that you increase your risk of injury.\n\nKeep a bank of ideas so you don’t have to worry about problems like feeling blocked. Develop more than one source of income.\n\nAnd don’t bet the house on Bitcoin.\n\nCalculate what’s at risk and the cost before investing time, energy or money in a project. Always pay less than you think something is worth. Be realistic about your expectations for the future rather than indulging in idle fantasies.\n\nI didn’t achieve my target race time in 2016, but I learnt how to manage risk a little better, and that’s more valuable than any medal.",
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      "body": "![Depositphotos_70641837_l-2015.jpg](https://steemitimages.com/DQmP4Py5MvL6szbTXpvMr5ppn2ZLvhseoeFVAn4f7PiQ7aD/Depositphotos_70641837_l-2015.jpg)\nIs your thinking clouded? \n\nDo you sometimes use use Google to find the answers?\n\nOr have ever had a great idea and said to yourself, \"I'm not using that?\"\n\nCognitive biases influence what you're thinking and how you practice your craft. They also encourage irrational thoughts and even self-doubt.\n\nIn this short article, I reveal five of the most common cognitive biases artists and creatives should be aware of.\n\n## Self-serving Bias\nYou believe your failures are a result of factors beyond your control whereas your successes are a result of your work. \n\nFor example, let's say you self-publish a non-fiction business book, and no one buys it. \n\nWell, let's blame Jeff Bezos.\n\nThat lousy Amazon algorithm is to blame too.\n  \nIt's just too hard for new writers to earn an income for their books.\n\nOr... \n\nYou could take ownership over marketing your book by setting up ads, cultivating an email list and finding your ideal reader. \n\n## Group-think\nLet's say you spend a lot of time on Steemit. \n\nYou discover many of the popular articles tackle topics like self-help, self-improvement and the ephemeral price of Bitcoin. \n\n\"Great,\" you say. \"I'll write about those topics.\"\n\nWait!\n\nSteemit may not necessarily need another self-help writer or a writer who tackles cryptocurrency.\n\nWe have enough of those! \n\nInstead, find a way of avoiding group-think and express yourself in clear and original way. \n\nThe best way to do that is to combine your interests with what people will read, watch or pay for. \n\n## Information Bias\nIt's easy to type a query into Google, write up what you find and tick \"research\" off your list. \n\nThe problem is Google sorts and filters questions and answers  based on their popularity and how well these articles and sources are optimised for search.\n\nBehold the echo chamber of modern life. \n\nThat's not to say Google is unhelpful, but you're also reviewing information everybody can immediately access or use. \n\nInstead of seeking out a novel or fresh truth, you're echoing existing thinking.\n\nWhere's the value in that?\n\nIt's harder to find alternative sources, but this blood and sweat will lend credibility to your work.\n\nPick up the phone. Read an old book. Dig for that forgotten research paper.\n\n## Scarcity effect\nHave you ever thought of a fantastic idea for your work and said,\n\n\"I don't want to use this idea right now. I'm saving this idea for something bigger, something better.\"\n\nWhile it's great to have a bank of ideas you can draw upon when you want [to get started](https://steemit.com/creativity/@bryancollins/why-getting-started-is-so-hard-for-creatives), please don't hold back on your great idea because the time isn't right. \n\nIt's much better to act now and presume the well of creativity  will refill itself. \n\nYou must trust using one idea will lead itself to a better idea later on.\n\nAt the very least, you'll find out quickly if your \"great idea\" is what people want to read, watch or listen to.\n\n## The Dunning Kruger effect\nThe more you learn, the less confident you feel.\n\nArtists, [poets](https://steemit.com/blog/@bryancollins/why-i-hated-and-how-i-later-learnt-to-love-poetry) and creatives are a fickle and anxious lot... especially the studious ones. \n\nAn artist will look at Henri Matisse and say, \"I could never paint that.\"\n\nA writer will read \"Ernest Hemingway and think, \"My stories will never be that good.\" \n\nA comedian will hear Steve Martin and wonder, \"How will I ever tell a joke *like that*?\"\n\nInstead of procrastinating through endless learning, remember to practice your craft, day in, day out.\n\nLearn to express yourself publicly, even if you're painfully aware of the gap between you and your heroes.",
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      "author": "bryancollins",
      "permlink": "why-i-hated-and-how-i-later-learnt-to-love-poetry",
      "title": "Why I Hated and How I Later Learnt to Love Poetry",
      "body": "![Depositphotos_8525176_l-2015.jpg](https://steemitimages.com/DQmYFL6CzjiTpjEX4aiu19Vf6KaEnH9JptVRCMg1UEuha2M/Depositphotos_8525176_l-2015.jpg)\n\nIn school, our teachers made us learn poems line-by-line.\n\nThey prescribed us assignments like they were Valium, and we were depressed.\n\nSo we wrote long essays about great poets W.B. Yeats, William Shakespeare and T.S. Elliot.\n\nAnd they bestowed Bs and As and Bs on the students who offered examples of symbolism, onomatopoeia and alliteration.\n\nAfter graduation, we put our poetry books down and forgot all about T.S. Eliot’s “The Wasteland”, Seamus Heaney’s “Bogland” and W.B. Yeats’ “Easter, 1916”.\n\nBack then I wished I could have enjoyed these poems, but years passed before I could read another without thinking of English coursework, exams and grades.\n\n## Reading Poetry\nThey called it the Great Recession.\n\nI called it being out of work.\n\nFor a year, I didn’t have much money to pay the bills, let alone buy new books.\n\nThe Japanese have a word for letting new and unread books pile on top of each other: Tsundoku.\n\nMy pile was rather high.\n\nSo I pulled down book after book from my shelf and I came across Open Ground by the Irish poet Seamus Heaney. It’s an anthology of his best works.\n\nAt the time, I was taking a college course in digital marketing. Each afternoon, while taking the bus into the course, and each evening on the way home, I read Heaney’s poems.\n\nIn “Digging\", he wrote\n\n> “Between my finger and my thumb\n> The squat pen rests; snug as a gun.”\n\nHis poems felt like salve on an open wound.\n\nOne time, I angered my wife and disappointed a friend. Afterwards, I came across “If” by Rudyard Kipling.\n\nI listened to this poem repeatedly, searching for answers for what I did wrong.\n\nI didn’t find what I was looking for, but I gradually felt better about myself. The student in me wanted to write an essay about how it’s “neither subtle nor experimental”.\n\nThe adult in me was happy I’d found Kipling.\n\n## On Slow Reading\nIn February 2017, I travelled to Bruges in Belgium with four friends.\n\nThe morning after a late night, I spent almost a hundred euro buying homemade dark, alcoholic chocolates. When I got home, I gave boxes of chocolates to my wife and son.\n\nI kept one large box for myself. After a difficult day at work, I opened it up and began to eat.\n\nAfter just three chocolates, I started to feel sick. They were too rich and heavy to eat all at once. I took several weeks to finish the box.\n\nIt took me almost a year to finish Open Ground.\n\nWhen I read more than three or four poems at once, the words weigh me down. Instead, I prefer to linger on a stanza or a line. Then I close the book.\n\nI let the rest of the poems keep.\n\n## Writing Poetry\nI’ve spent hundreds of hours and a lot of money learning skills like copywriting, writing for the web, blogging, storytelling and so on.\n\nI’ve learned how to optimise articles so Google kindly ranks them. I created spreadsheets of my favourite books and detailed the key moments in favourite stories so I could understand the authors’ intentions.\n\nI’ve even rewritten chapters from my favourite fiction and nonfiction books by hand so I can breathe in the authors’ sense of style.\n\nI’ve taken apart writing I love like a mechanic does a car engine.\n\nNow, I can’t read a book without taking notes, capturing ideas and forming opinions. I’ve all but ruined watching great films because I identify the obligatory scenes before they happen.\n\nI almost never try to write poetry. Instead, I’m happy to sit for a moment and read.\n\nRaymond Carver let me off the hook. In “The Poem I Didn’t Write” he said,\n\n> “Here is the poem I was going to write earlier, but didn’t because I heard you stirring.\n> I was thinking again about that first morning in Zurich.\n> How we woke up before sunrise.\n> Disoriented for a minute. But going out onto the balcony that looked down over the river, and the old part of the city.\n> And simply standing there, speechless.\n> Nude. Watching the sky lighten.\n> So thrilled and happy. As if we’d been put there just at that moment.”\n\n## Understanding the Mechanics of a Great Poem\nOne spring weekend, my wife and I stayed in a luxurious hotel in a remote part of Ireland. The concierge greeted us with open arms at the front door, took our heavy bags and offered tuna canapés.\n\nWe were altogether outside of our comfort zone for those two days.\n\nWhen checkout came on Monday, I asked the receptionist,\n\n“Where can we leave our bags? We’d like to use the leisure club before going home.”\n\nShe smiled. “Right this way sir.”\n\nThe concierge took us behind the oak reception desk and into a cold store room.\n\nInside, stacked on top of a rickety wooden table, a 14-inch television displayed security camera feeds from around the hotel. Someone had pinned a duty roster of the hotel, dockets and stock order forms to a beaten-up yellow corkboard. A large blue cable ran across the cold concrete floor.\n\nHere amidst the inner workings of the hotel, the magic was broken.\n\nI don’t want to understand how a poem is put together. I would rather keep them as mysterious, private pleasure.\n\n## Finding Your Way Into Poetry\nToday, some of my favourite poets include Raymond Carver, Charles Bukowski, Emily Dickinson and Seamus Heaney.\n\nWhen I told one friend, he looked at me like I’d lost my mind.\n\nI told another.\n\nHe asked me, “How can I start reading poetry?”.\n\n“Try Poet’s Corner narrated by John Lithgow,” I said. “In the audiobook, he introduces Dylan Thomas, William Blake and Gertrude Stein.”\n\nEven though I avoid musing on the mechanics of these poems, the poets’ style seeps into my day.\n\nRecently, I read “Crow” by the British poet laureate Ted Hughes. The bleak imagery stayed with me for weeks.\n\n> “When God, disgusted with man,\n> Turned towards heaven.\n> And man, disgusted with God,\n> Turned towards Eve,\n> Things looked like falling apart.”\nWhat you read can change your mood.\n\nWhen I read Bukowski, I’m more abrasive.\n\nWhen I read Carver, I’m more melancholy.\n\nWhen I read Dickinson, I’m more obscure.\n\nBe careful what you ask for.",
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      "body": "Thanks @bryancollins sorry for only getting back to you now.\nYea there seems to be a big Irish community here , I am going to try get to the Dublin meet up this month.",
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      "body": "![Robert.jpeg](https://steemitimages.com/DQmUB598Ha7xwXCBJYVgLo54qKP6v4RqyjUffLBN3tnjgKg/Robert.jpeg)\nNew York man Robert Mapplethorpe (1946–1989) wanted to do one thing with his life: to live for art.\n\nDuring his teens and early twenties, he experimented with drawing, painting and sculpture.\n\nThen, in 1970 a friend gave Robert a loan of a 360 Land camera, a clunky but technically simple, silver and black device. Robert settled on the camera as his creative tool of expression because “it was more honest.”\n\nAt first, Robert restricted himself to only taking pictures of his former -girlfriend and life-long creative partner the singer Patti Smith. The confines of a single muse shaped his creative vision and enabled him to hone his technique. In Just Kids, Patti writes:\n\n“He was comfortable with me and he needed time to get his technique down. The mechanics of the camera were simple, but the options were limited.”\nThat wasn’t the only restriction Robert faced. In the 1970s, camera film was expensive, and Robert couldn’t afford to make mistakes.\n\nSo, he made every shot count.\n\nRobert developed his technique and visual eye with the 360 Land Camera and later a Polaroid. In 1973, he held his first solo photography exhibition at the Light Gallery in New York.\n\nWith success, came more financial and creative resources. A patron bought Robert an expensive Hasselblad camera (a type of camera previously used to photograph the moon landings).\n\nAlthough a professional-grade camera gave Robert more choices and control over his use of light, he didn’t learn anything about the creative process from having access to more powerful tools.\n\nAccording to Patti, “Robert had already defined his visual vocabulary. The new taught him nothing, just allowed him to get exactly what he was looking for.”\n\nWhat Robert was looking for was to document New York’s S&M scene, and a subsequent exhibition shocked audiences and impressed his peers. He said:\n\n> “I don’t like that particular word ‘shocking.’ I’m looking for the unexpected. I’m looking for things I’ve never seen before … I was in a position to take those pictures. I felt an obligation to do them.”\nRobert went on to photograph a series of male and female nudes; delicate flower still lives lifes and portraits of artists and celebrities. He also collaborated intensely with the world’s first female bodybuilder Lisa Lyon.\n\nHe continued to push photography forward as an art form until he died of AIDS in 1989.\n\nToday, Robert is regarded as one of the twentieth century’s most provocative visual artists, and his work is displayed in galleries around the United States, South America and Europe.\n\n## The Creative Power of Constraints\nConstraints are liberating.\n\nCreative masters like Robert Mapplethorpe saw chaos around them and brought order to it. What better way to bring order than to restrict yourself to a few chosen tools, a big idea or means of expression.\n\nIf you were told you could write, draw, film or paint anything you liked using any material imaginable, it would be difficult to know where to start.\n\nOn the other hand, if you were given a creative brief that required you to write 1,000 words about the importance of storytelling or sketch Dublin city at dawn using charcoal, these restrictions would force your brain to come up with more inspired ideas.\n\nYou can overcome creative overwhelm by narrowing your choices.\n\nFor example, if you don’t have the freedom to work on your ideas for eight hours straight because you have a job or other personal commitments, use the constraint of time to create what’s most important to you first thing in the morning or at night.\n\nDon’t afraid of a looming deadline; use it as a catalyst to drive yourself and your project forwards.\n\nOr if you lack the financial resources to conclude your project, reduce, remove and simplify your work and then finish what you can afford. You can always come back to the unfinished parts of your creative project later on.\n\n## What We Can Learn from Robert Mapplethorpe\nCreative masters like Robert Mapplethorpe impose constraints on their works rather than seeking out unlimited resources. These constraints helped them learn more about the creative process.\n\nWhen you have too much freedom, getting started or finishing your work can feel impossible. On the other hand, artificially imposed constraints will help you come up with better ideas and give you an end goal to work towards.\n\nIt will narrow your creative vision and help you focus on what’s important.\n\nThis is an edited extract from The Power of Creativity: How to Conquer Procrastination, Go Deep Into Your Work and Find Success (Book 3 in a 3-part series)\n\nOriginally published at [becomeawritertoday.com](https://becomeawritertoday.com/getting-technique/) on January 20, 2017.",
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      "body": "Good tips, especially the part about reflecting on the lessons you learned and implementing them in future things you write. It can certainly be hard to accept that the piece of writing you slaved over wasn't perfect, but you're right in saying that feedback in invaluable to growth as a writer. \n\nRecently I wrote a fantasy story and showed it to my Mum. Her comment was that I'd made the description at the beginning too complicated. My initial response was to think \"Oh well she doesn't read fantasy, so she doesn't know what she's talking about.\" Then I showed the same story to my brother, an avid fantasy reader. Same feedback. Turns out I just didn't want to admit that I needed to go back and rewrite. Something to be learned there!\n\nThanks for sharing!",
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      "author": "bryancollins",
      "permlink": "5-tips-for-handling-editorial-criticism-like-a-champ",
      "title": "5 Tips for Handling Editorial Criticism Like a Champ",
      "body": "![Depositphotos_31034825_l-2015.jpg](https://steemitimages.com/DQmVgNBTPeBD9HozHLiSfvvFa1HPKTUhPv8KDvVJ8t7F81M/Depositphotos_31034825_l-2015.jpg)\n\nWhen was the last time you had to deal with criticism?\n\nIf you’ve worked with an editor, you’ll know how difficult it can be to deal with criticism.\n\nWorking hard on an article only to get it back covered in red ink or with a request for a major rewrite isn’t a pleasant experience.\n\nBut here’s the thing:\n\nIt happens to every writer, and it’s part of the job.\n\nFailure and rejection are pit-stops along your journey to becoming a better writer.\n\nI know this from personal experience.\n\n## My Big Mistake\nSeveral years ago, I worked as a freelance journalist for an Irish technology magazine.\n\nMy editor wanted me to write a 3000-word feature about the then new Digital Audio Broadcast radio (DAB), a relatively technical topic.\n\nI interviewed several radio experts, asking what DAB meant for the general Irish radio listener.\n\nThe interviews went well, so I included them almost ‘as is’ in my article.\n\nI was confident I knew what I was doing, but the truth is that the article wasn’t particularly good. I didn’t work hard enough to make it easy to understand for readers who were not technically minded.\n\nI know this (now), because my editor asked me to rework most of the piece. \n\nHe said, \n\n> “The raw version of your article came across as three interviews meshed together, and was confusing. Be careful to fully define your subject matter before diving into expert opinion…as this can be off-putting and makes you seem lazy.”\n\nAt the time, I was annoyed about having to put in the extra work, and felt like my editor had it in for me personally.\nWho’s he to criticise my hard work?, I thought.\n\nNow, I know this was a mistake.\n\n## Why Your Editor is Your Ally\nNew writers often struggle with negative feedback from an editor.\n\nWhen you send what you think is a finished article, having to do more research, or rewrite the article feels like a frustrating step backwards.\n\nBut it’s important to remember one truth: Your editor wants you to write something their readers will love.\n\nI’m sure that’s what you want too. \n\nSo when your editor asks for more research or a rewrite, they have both your and their readers’ best interests at heart.\n\nThat said, frank editorial feedback can still be hard to take.\nHere are 6 strategies to help you deal with criticism like a pro:\n\n## 1. Separate Yourself from Your Work\nWhen a plumber fits a toilet, they don’t view the toilet as an extension of themselves.\n\nWhen a farmer milks a cow, they don’t throw a temper tantrum if someone complains about the milk being sour.\nYour writing isn’t any different.\n\nWhen an editor criticizes your work, it’s not personal.\n\nTheir criticism is not a judgment on whether or not you are a good or  hardworking person.\n\nGet some distance from your work and you’ll be able to evaluate your editor’s advice on its merits alone.\n\nIn my case, I needed to listen to my editor. He knew better than I what would work for his readers; it was his job.\n\nI should have separated myself from my work, and listened to him.\n\n## 2. Have More than One Writing Project On the Go\nYou may love them all at first, but not all your articles or stories will succeed.\n\nSometimes, it can take months to write something your editor likes; on other occasions, it may only take a few hours.\n\nWriting is curious like that.\n\nBut if you have more than one writing project on the go at a time, it doesn’t matter as much if one of your articles needs significant reworking, or even if it flops.\n\nBecause you haven’t invested all your creative energy in a single writing project, you’re less likely to feel like a failure when you are criticized.\n\nThe best part?\nYou can always work on another of your articles until you feel more encouraged about fixing the piece in question.\n\n## 3. Get Beta Readers\nSome writers feel their editors are neither approachable nor forgiving, which makes them afraid to send in their work.\n\nIf you’re worried about how your editor is going to receive your work, show it first to someone whose opinion you trust. \n\nAsk them if they think the article works, if there are any obvious mistakes you’ve missed, and what you can do to make it more readable.\n\nThis person could be a colleague who is more experienced than you or an eagle-eyed family member who is great at catching typos.\n\nWriters like Joanna Penn even ask trusted members of their email list to review their work before it’s published.\n\nThese beta readers can provide you with frank and free feedback you can use to improve your writing before sending it to your editor.\n\n## 4. Trust Yourself\nIf you’re going to become a better writer, you need to have confidence in your ideas and your work.\n\nNo, I’m not suggesting you confront your editor with ‘publish my work as is or else.\n\nInstead, have the courage of your convictions.\n\nIf you disagree with editorial suggestions, make a case for why you wrote things one way and not the other.\n\nExplain calmly how your arguments, points or ideas make the piece in question stronger.\n\nYour editor may disagree, but sometimes they use back and forth conversations to see what a writer is made of, and to test if their ideas hold up before they are exposed to the world.\n\nIf your editor points out an obvious mistake, correct it, but don’t let this become a reason for compromising on your entire work.\n\nAfter all, you’re a professional.\n\n## 5. Learn from Your Mistakes\nWhen I was a freelance journalist, I didn’t write down the lessons I learned from my editors.\n\nThis was one of my biggest mistakes because I ended up having the same ‘frank conversations’ with several different editors over the years i.e. I repeated my mistakes.\n\nToday, I keep notes of everything I learn about writing. I include positive and negative feedback about my work. I also write about the process of writing the piece in question.\n\nThis only takes a few minutes each week, but helps me internalise what I learnt from my editors.\n\nLater on, if I’m writing something similar, I can re-read these lessons and avoid repeating my mistakes.\n\n## 6. Accept It and Move On\nSo your work sucked.\n\nSo your book wasn’t any good.\n\nSo nobody like your article.\n\nMove on.\n\nI don’t mean to be harsh.\n\nIf you’re anything like me or the writers I’ve met, you’ll have far more failures to your name and unpublished disasters on your computer than successes.\n\nInstead of [wallowing in self-defeat](https://steemit.com/creativity/@bryancollins/why-getting-started-is-so-hard-for-creatives), salvage what you can, and use the experience as a lesson to fail forward.\n\nWondering if you’ve got what it takes, blaming your editor, and suffering from a martyr complex won’t help you write a better article next time.\n\nIt certainly didn’t help me.\n\n## This Is Your Chance \nToday, I don’t write about technology because I’m more passionate about writing, creativity and great stories.\n\nHowever, because of my past mistakes, I try to see editorial feedback as a valuable tool I can use to improve my work.\n\nWhen an editor asks for many edits and rewrites, think of it as a chance to improve your craft and learn from a more experienced person.\n\nAll you have to do it is to act on the advice.",
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      "body": "![Masterclass-lesson-plan.jpg](https://steemitimages.com/DQmd8oaWWZvDc2wAGypUCCA9Jfou6iX1j9txogogfKQAYNt/Masterclass-lesson-plan.jpg)\n\nI joined [Masterclass](http://shareasale.com/r.cfm?b=797461&u=951044&m=62509&urllink=&afftrack=) in Autumn 2017 for $97.\n\nTo me, that was a cheap investment.\n\nOver the past 10 years I’ve spent thousands of dollars on writing classes in traditional classrooms, I’ve also paid for weekly writing groups and taken online courses on topics like blogging.\n\nIn other words, I’ve tried lots of different kinds of online and offline learning classes.\n\nEach style has pros and cons.\n\nWhat you get out of them depends on how much time and money you can invest and what kind of learner you are.\n\n## What I Took on Masterclass\nI took “Steve Martin Teaches Comedy” first because I wanted to learn how to inject more colour and comedy into my writing. I’ve no desire to become a stand-up comedian!\n\nI was familiar with Martin’s comedy. I’ve read his autobiography Born Standing Up and watched a lot of his stand-up shows.\n\nMartin was a teacher I could learn from.\n\nIn his Masterclass, Martin talks about how to find your comedic voice and how he writes and delivers jokes.\n\nIt was fascinating to hear Martin talk about his early days in comedy and how he got started. The comedian also provides several practical takeaways.\n\nNext up?\n\nMalcolm Gladwell teaches writing.\n\nHow to Get the Most from Masterclass\nI recommend Masterclass to creative professionals who are on a budget. Pick one class and see if it’s for you.\n\nThe All-Access Pass is useful if you plan to take more than one class.\n\nFor a modest amount, you can invest in your craft and learn from current experts without investing thousands of dollars in a fancy MFA.\n\nMasterclass also is useful for creative professionals who are further along in their careers but want to keep up by learning from masters of their professions.\n\n## Masterclass Pros\n* Affordable\n* Offers access to top-level creators, writers and artists\n* Includes succinct materials\n* Features high-quality video\n* They post new courses regularly\n\n## Masterclass Cons\n* Not all classes are relevant to everyone (a Deamau5 student probably won’t get much from Steve Martin’s Masterclass)\n* Technical students should stay away\n* Community forums are hit and miss\n* Students need an affinity with their teacher\n\nWant more? Read my full [Masterclass review](https://becomeawritertoday.com/masterclass-review/).",
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