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Critiques Gone Bad – Critiques Part 3

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Explosion gone badIn Part 1, I talked about why we write and why receiving a critique can be so difficult and in Part 2 we discussed what a critique is.

I’ve seen critiques gone bad – so bad that when the author tried to incorporate everyone’s suggestions, he ruined his own story and in another instance, the writer gave up writing for a while. Sometimes it’s hard to find the right group of people or even one person, who understands that observations and comments that help strengthen your work do not need to include wholesale shredding,

So, how to avoid a critique disaster?

What you can do to prepare yourself:

1) The most important thing for you, the author, to remember is that the critique helps you to switch hats – from the creative to the editorial. Remember that creative ALWAYS needs editorial and creative is usually scared to death of editorial. That is why some authors put their stories away for a while before embarking on the editorial journey – to give their creative sides time away from the work so that they can approach the revision and editing process more objectively.

2) Submit your best work and understand what type of critique you are looking for: a reader’s critique, a line by line critique or both? A reader’s critique is one in which the reader tells you what is working and what isn’t, where she was engaged and what threw her out of the story. The points listed at the end of this article can help guide the reader on what to look for.  A line by line critique happens when all the other elements of the story are working well and the manuscript is is reviewed for consistency in language, metaphors, grammar, excess wording, etc. Generally, good critiquers will not give you a line by line critique unless they know this is more than a first draft. They can tell that by how strongly your story holds together in terms of plot, consistency, style, character and setting. Only then will they focus on line-by-line edits to polish the story.

2) Understand that some people can’t help but shred, rewrite and go beyond what is asked for. Take what you need and leave the rest but for goodness sake, don’t take it personally! Have confidence in your work and move on. Know that you can’t and don’t have to use everyone’s suggestions.

3) Know you may disagree with someone’s comments but do not take issue or become defensive. Instead become curious as to why they made those comments. Was there a misunderstanding or misinterpretation of some sort? If so, the reason for the comments may need to be addressed. Sometimes a person’s comments may simply be wrong. They may offer bad or unwelcome suggestions or see problems where they don’t exist or miss existing problems. Ultimately, you must choose the feedback that works for you.

4) Understand who is critiquing. Not everyone may be familiar with the nuances of the genre you are writing in or the age level you are targeting and that may pose problems. Short story writers and novelists may have different views on pacing, description, speed of character or plot development. You need to understand the person who is responding to your work to give their comments appropriate context.explosion 2

5) Above all, be respectful and gracious. This person took time from their other activities to help you.

What you can do to prepare others:

1) Tell them what stage this is in. First draft? Final draft needing polishing before submission? This should include information about the intended market such as Writers of the Future submission, YA novel, adult historical fantasy, etc.

2) Be clear about what you are looking for – first draft I always ask for a reader’s critique. What is working? What keeps you in the story? What isn’t working? What throws you out? Do the character’s actions ring true?

3) It’s good to tell others where you have concerns. For example, 1) I’ve rewritten the beginning several times and am not happy with it. What’s working or not working? Is this the right place to start the story? 2) Does the science make sense? Is the world I’ve created consistent and credible?

Here are some points used by writers and in critique groups that I belong to. Use them to help focus the questions you want answered, or if you’re looking at someone’s work, use them as guidelines of things to look for. Some will use this as a template, while others may only touch upon pertinent points.

General impressions: An overview of what worked and what didn’t; critiquer’s theory of theme, premise & plot summary; first impressions on title, emotional response, stumbles, questions and expectations; if the story is satisfying; and  how well does the title work?

Plot:
It the problem clearly stated?
Is there a full story arc?
Does the opening/hook work?
Is there rising action & a climax?
Is the resolution complete?
Did something change?
Are there plot holes?
Does each scene work?
Is there appropriate revelation throughout the story?

Consistency:
Are there places where suspension of disbelief fails?
Is the internal logic consistent?
Does the narrative flow with proper pacing, rhythm?
Is there sufficient conflict (of all types)?

Style:
Is the style of writing appropriate?
Is an appropriate narrative tone used?
Is dialogue stilted or otherwise out-of-place?
Is there a proper balance of narrative and dialogue?
Is there appropriate narrative tension?
Is Point of View consistent? The best choice or mix?
Is tense consistent?

Character:
Sufficiently developed & distinct?fireworks
Do they speak with distinct voices?
Do they change?
Do they have believable motivations & behaviors?
Are there too many characters?
Do they have appropriate names?
Do they have strengths & weaknesses?
Are the interesting?
Is at least one character sympathetic?

Setting:
Is it complete or full of holes?
If a character, is it fully developed?

Technique summary:
Are there technical problems? (its vs it’s?)

Remember that the purpose of the critique is to help us polish the gem of our story until it sparkles in its brilliance. So, keep your eye on the prize, have confidence in what you’re doing, revise, polish and above all, submit your work!

Critiques ““ Part 1 ““ Understanding the Process

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Recently I gave a presentation to a local writers’ group on the art of giving critique. To fully understand and engage in the critique process we need to first understand why we write, what a critique is, how an author can help the process and how to give a critique. In this blog, we’ll talk about why we write and why receiving a critique can be so difficult.

Why do we write?

When we understand why and what makes us so sensitive to feedback, it actually becomes easier to absorb the information we receive in an impartial way.

I, like many of you, write because I’m miserable when I don’t. As others need to breathe, so I need to write. We all write because we are story tellers – we have something to say, we see worlds and creatures and characters the average person does not, we give commentary about the human condition, our politics, our society, our values, our relationships – we are observers with a unique way of expressing ourselves – BUT most important, for us, writing is fun and it is who we are.

We have an idea – that is personal. We think. We sweat, we write and rewrite hoping that the story we tell is understood by others. The crux is that we, the writers become so intimate with the process and the material that it feels personal – and it is because every fabric of our being has been poured into the story.

So when someone doesn’t like what we’ve done and how we’ve done it, it feels personal even when it isn’t. But, when we focus on the need to express the characters and world we see, it becomes much easier to accept feedback.

This is not dissimilar to mining for gems. We find the diamond. It is rough. It is uncut. We cut. We polish. We wanting to reveal the heart of the stone – the heart we know is there. We work with experts who can help us get the angle just right on every facet. Then we polish until it sparkles.

Writing is no different. We have a gem stone of an idea. We hone our tools. We dig. We scrape. Sometimes we cut and reshape, making every facet as stellar as it can be. And then we must ask if others see what we do.

The critique process should help us polish our gems, to make the story stronger, to make its heart shine brighter. And, if you have a good critique group, they’ll help you do just that.

When we understand that our goal is to express an idea, to create a story which is both entertaining and enlightening, the feedback feels less personal, more constructive because we know that everything we do makes our gem shine brighter.

There are two other things to remember:

1) learning that the gem we polished isn’t as bright as it can be, hurts. And it can hurt a lot. That’s part of being human. Part of being a writer is understanding that and gracefully going forward by thoughtfully considering the comments.

2) the person giving the critique can get it wrong. As the writer you must also figure that out. But generally, most don’t get it wrong if there are problems with grammar, structure, story arc and character development. And let’s face it, if we don’t solve these problems before submitting, no editor will read the story, let alone help you polish your gem.

The next time we meet, we’ll talk about what a critique is and how to give a good critique.