Creative Writing Resource for Budding Authors
Getting people to Critique your work
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'CRITIQUE? YES, BUT BY WHOM AND HOW?' by Paul Saevig
'Yes, writers at all levels from neophyte to expert need feedback on their writing. They need one or more human reactions.
Unfortunately, though, a useful reaction is not something all your friends or even teachers can give. Critique is a specialized form of feedback, and should only be given by a qualified, trained professional writer or other expert. Otherwise, what happens is the blind leading the blind, or the almost blind leading the blind. Instead, ask a few trustworthy people you know for feedback, which is simply reaction, and not the trained, educated and highly structured complex reaction known as critique.
The Nature of Critique
Writers tend to invest critique with importance and validity. Therefore they regard a critique as a carrier of implicit or explicit instructions for change. To receive a critique properly, a critic must carefully consider what instructions he conveys, although the writer is not obligated to follow them.
A critique is a tricky commodity that can go wrong in many ways. If it becomes personal, or envious, or too general and not specific, or if it champions an idiosyncrasy of the critic, it may well cause damage to the writing in question. Worse, it may discourage the writer or even motivate him to quit writing, either a particular project or all writing.
In addition, a critic must employ tact, courtesy and goodwill. Anyone unwilling to observe these amenities should not critique work by others. The sting of the lash does not improve writing. Even the wording of a critique must be carefully chosen. A competent critique requires some time and effort, so if a critic intends to rush and cut corners, he should recuse himself.
Examples of A Good Critique
Let's choose an example we're all familiar with: The Great Gatsby by F. Scott Fitzgerald. Every writer and critic should know, by the way, that no piece of writing has ever been universally acclaimed, not even Shakespeare's or Dr. Johnson's or Dante's. For every work, there are critics who won't like or approve it, and who will furthermore suggest or even insist on changes to “fix it”.
After all, at least one editor or publisher has passed on many if not most of the greatest books, stories, poems and other writings in history. Some legendary and canonical works have been rejected dozens of times before finding a buyer. Therefore, The Great Gatsby is not such an unlikely choice as our example.
Suppose a critic finds the narrator, Nick Carraway, objectionable for one reason or another: maybe too naïve or coy, or too worshipful of Gatsby. I don't happen to agree, but it's understandable that some critics might feel that way. Let's look at useful and destructive ways to express that point.
GOOD WAYS TO SAY IT: 1. “It would be worthwhile for you to reconsider the narrator: is there any problem with him? Could he be too naïve, or two deferent to Gatsby?”
2. “I'm not sure if the narrator is effective. I think you ought to go over what he says and how he's described, to be sure he's right for your story. I suspect he may be too naïve, and may not be credible to some of your readers.”
EXCESSIVELY PERSONAL WAYS TO SAY IT:
1. “Nick is just too naïve and coy. He nauseated me.”
2. “Narrator all wrong; I couldn't stand him”
ENVIOUS:
1. “Your elaborate creation does not quite ring true, especially your narrator. Sorry.”
2. “You've done a very nice job but unfortunately your narrator spoils everything.”
TOO GENERAL, NOT SPECIFIC:
1. “Just not believable, George.”
2. “Not bad at all, except the middle sags.”
IDIOSYNCRATIC:
1. “Your narrator fails you because every narrator must know at least 5 important things no other character knows.”
2. “Your daytime and nighttime scenes are imbalanced. Must have the same number of each. “
SOMEWHAT DISCOURAGING:
“I'm not sure if you ought to put any more time in this story. It's up to you.”
RADICALLY DISCOURAGING:
“Sally, I just don't think you're cut out to be a writer of fiction. You're a good journalist, so why not stick with that? Why do you want to write novels, anyway?”
I hasten to add that no one should ever expect any such critique, good or bad, from an agent, editor or reviewer. It could possibly happen, but these people are not in business to nurse your talents along, or to instruct you.
What you might receive occasionally are phrases or brief comments from these professionals:
1. “Nice narrator but didn't work for us.”
2. “Enjoyed it but not now. Try us again.”
3. “Lovely story but not what we publish.”
4. “This seemed like 2 stories and neither quite complete.”
5. “Didn't care for the ending. Sorry.”
That they'd respond may be encouraging, but don't get your hopes up. You might be hearing from an especially kindhearted (or not busy) editor. Or maybe you just happened to write about his pet interest. Or he may be the low person on the totem pole, so that no matter how much he liked your story, it didn't matter.
There is an excellent and amusing website about rejection, with traces of tragedy. It's http://rejectioncollection.com/, and subtitled “The Writer's and Artist's Online Source for Misery, Commiseration and Inspiration”.
What I Want To Know
I'm a loner as a writer but I always want to know if readers enjoy and understand something I write. That is, I have confidence in most elements of my work, but there is one question I cannot answer by myself: is my story or novel enjoyable to read, do people follow it easily enough and like it? In fact, in this current era of fewer and more demanding readers of fiction, I need to know if readers are willing to continue reading after the first few pages.
Now if I don't get some positive indications on these questions, I know I should probably go back to the very beginning, or maybe put this project away and work on another one. If a few readers don't react with any favor at all, why go on if you intended to publish something?
When I ask others to read my work in progress, I emphasize that I want a consumer's reaction. That is, “How did you like it and was it what you wanted? Is it a novel you'd read at all, and would you pay for it?”
The manufacturers of sports cars, sausages or chewing gum all need to seek answers to these questions, and so does the writer, I think. Manufacturers and corporations have marketing and research departments, and use focus groups, surveys and other ways of finding out that are not available to us writers.
Strangely, people I ask these questions find it difficult to assume this role of consumer for a novel or story. They're eager to circle misspellings, factual inaccuracies, contradictions and other basic editorial matters, but hesitant or unable to say - at least honestly and sincerely with consumer reasons:
1. “I love the San Francisco parts and my sister will, too.”
2. “I don't like stories about Los Angeles”,
3. “I'd like more about the guns and rifles.”
4. “Not enough sex in it to interest me.”
5. “I had to read it real quick because I have company at home”,
6. “I loved the actress who had diabetes!”
7. “The main characters reminded me too much of my in-laws”,
8. “The cool title sold me!”
9. “I don't like to read third person stories”
The exception I've found is that almost all casual readers will tell you when the book or story “reads too slow”, “slows down” or “meanders” or “gets lost” or “gets off the track” or “doesn't flow”. This attention to pace and action seems to be the most important consideration to most readers I've talked to.
I call them casual readers with complete respect and mean only that they do not make it their practice to seek out great books and examples of literature. More likely, they read books their friends and family have recommended, or heavily advertised books, or even books with fascinating covers. Like or agree with them or not, I suppose they're the salt of the earth and buy the most books of all, so they must be listened to.
Finding the Right Critics For Your Stories
Of course, there's no point in setting yourself up with cheerleaders and yes-men, by asking your wife, mother and employees to critique your novel. They won't be very objective.
Nor do you want to throw a well-crafted story or novel to a general group of readers. That's not giving it a good chance. Unless it reads fast all the way through, it's not likely anyone will like it much.
What you need to do is find some readers who will be receptive. That's all. You won't be serving tacos and enchiladas to someone who prefers steamed rice and Kung Pao Chicken, and hoping she likes it. You'll be giving your story a chance.
For example, if you write historical fiction, see if you can find some readers who have enjoyed it in the past, along with other kinds of novels. Choosing only historical fiction aficionados tilts the odds too much in your favor.
If you write a long, complex novel of character development in a literary mode, choose some people who read these kinds of novels. If you can find two or three of them, that's good, and you might want to include a test person who usually reads mysteries or science fiction or historical novels, too. He may tend to be a valuable devil's advocate.
Again, if you play reggae or polka, don't expect jazz lovers to be much interested in your music. Devise ways to receive reasonable critiques from people who know what they're talking about. '
Read the rest of this article here
'CRITIQUE? YES, BUT BY WHOM AND HOW?' by Paul Saevig
'Yes, writers at all levels from neophyte to expert need feedback on their writing. They need one or more human reactions.
Unfortunately, though, a useful reaction is not something all your friends or even teachers can give. Critique is a specialized form of feedback, and should only be given by a qualified, trained professional writer or other expert. Otherwise, what happens is the blind leading the blind, or the almost blind leading the blind. Instead, ask a few trustworthy people you know for feedback, which is simply reaction, and not the trained, educated and highly structured complex reaction known as critique.
The Nature of Critique
Writers tend to invest critique with importance and validity. Therefore they regard a critique as a carrier of implicit or explicit instructions for change. To receive a critique properly, a critic must carefully consider what instructions he conveys, although the writer is not obligated to follow them.
A critique is a tricky commodity that can go wrong in many ways. If it becomes personal, or envious, or too general and not specific, or if it champions an idiosyncrasy of the critic, it may well cause damage to the writing in question. Worse, it may discourage the writer or even motivate him to quit writing, either a particular project or all writing.
In addition, a critic must employ tact, courtesy and goodwill. Anyone unwilling to observe these amenities should not critique work by others. The sting of the lash does not improve writing. Even the wording of a critique must be carefully chosen. A competent critique requires some time and effort, so if a critic intends to rush and cut corners, he should recuse himself.
Examples of A Good Critique
Let's choose an example we're all familiar with: The Great Gatsby by F. Scott Fitzgerald. Every writer and critic should know, by the way, that no piece of writing has ever been universally acclaimed, not even Shakespeare's or Dr. Johnson's or Dante's. For every work, there are critics who won't like or approve it, and who will furthermore suggest or even insist on changes to “fix it”.
After all, at least one editor or publisher has passed on many if not most of the greatest books, stories, poems and other writings in history. Some legendary and canonical works have been rejected dozens of times before finding a buyer. Therefore, The Great Gatsby is not such an unlikely choice as our example.
Suppose a critic finds the narrator, Nick Carraway, objectionable for one reason or another: maybe too naïve or coy, or too worshipful of Gatsby. I don't happen to agree, but it's understandable that some critics might feel that way. Let's look at useful and destructive ways to express that point.
GOOD WAYS TO SAY IT: 1. “It would be worthwhile for you to reconsider the narrator: is there any problem with him? Could he be too naïve, or two deferent to Gatsby?”
2. “I'm not sure if the narrator is effective. I think you ought to go over what he says and how he's described, to be sure he's right for your story. I suspect he may be too naïve, and may not be credible to some of your readers.”
EXCESSIVELY PERSONAL WAYS TO SAY IT:
1. “Nick is just too naïve and coy. He nauseated me.”
2. “Narrator all wrong; I couldn't stand him”
ENVIOUS:
1. “Your elaborate creation does not quite ring true, especially your narrator. Sorry.”
2. “You've done a very nice job but unfortunately your narrator spoils everything.”
TOO GENERAL, NOT SPECIFIC:
1. “Just not believable, George.”
2. “Not bad at all, except the middle sags.”
IDIOSYNCRATIC:
1. “Your narrator fails you because every narrator must know at least 5 important things no other character knows.”
2. “Your daytime and nighttime scenes are imbalanced. Must have the same number of each. “
SOMEWHAT DISCOURAGING:
“I'm not sure if you ought to put any more time in this story. It's up to you.”
RADICALLY DISCOURAGING:
“Sally, I just don't think you're cut out to be a writer of fiction. You're a good journalist, so why not stick with that? Why do you want to write novels, anyway?”
I hasten to add that no one should ever expect any such critique, good or bad, from an agent, editor or reviewer. It could possibly happen, but these people are not in business to nurse your talents along, or to instruct you.
What you might receive occasionally are phrases or brief comments from these professionals:
1. “Nice narrator but didn't work for us.”
2. “Enjoyed it but not now. Try us again.”
3. “Lovely story but not what we publish.”
4. “This seemed like 2 stories and neither quite complete.”
5. “Didn't care for the ending. Sorry.”
That they'd respond may be encouraging, but don't get your hopes up. You might be hearing from an especially kindhearted (or not busy) editor. Or maybe you just happened to write about his pet interest. Or he may be the low person on the totem pole, so that no matter how much he liked your story, it didn't matter.
There is an excellent and amusing website about rejection, with traces of tragedy. It's http://rejectioncollection.com/, and subtitled “The Writer's and Artist's Online Source for Misery, Commiseration and Inspiration”.
What I Want To Know
I'm a loner as a writer but I always want to know if readers enjoy and understand something I write. That is, I have confidence in most elements of my work, but there is one question I cannot answer by myself: is my story or novel enjoyable to read, do people follow it easily enough and like it? In fact, in this current era of fewer and more demanding readers of fiction, I need to know if readers are willing to continue reading after the first few pages.
Now if I don't get some positive indications on these questions, I know I should probably go back to the very beginning, or maybe put this project away and work on another one. If a few readers don't react with any favor at all, why go on if you intended to publish something?
When I ask others to read my work in progress, I emphasize that I want a consumer's reaction. That is, “How did you like it and was it what you wanted? Is it a novel you'd read at all, and would you pay for it?”
The manufacturers of sports cars, sausages or chewing gum all need to seek answers to these questions, and so does the writer, I think. Manufacturers and corporations have marketing and research departments, and use focus groups, surveys and other ways of finding out that are not available to us writers.
Strangely, people I ask these questions find it difficult to assume this role of consumer for a novel or story. They're eager to circle misspellings, factual inaccuracies, contradictions and other basic editorial matters, but hesitant or unable to say - at least honestly and sincerely with consumer reasons:
1. “I love the San Francisco parts and my sister will, too.”
2. “I don't like stories about Los Angeles”,
3. “I'd like more about the guns and rifles.”
4. “Not enough sex in it to interest me.”
5. “I had to read it real quick because I have company at home”,
6. “I loved the actress who had diabetes!”
7. “The main characters reminded me too much of my in-laws”,
8. “The cool title sold me!”
9. “I don't like to read third person stories”
The exception I've found is that almost all casual readers will tell you when the book or story “reads too slow”, “slows down” or “meanders” or “gets lost” or “gets off the track” or “doesn't flow”. This attention to pace and action seems to be the most important consideration to most readers I've talked to.
I call them casual readers with complete respect and mean only that they do not make it their practice to seek out great books and examples of literature. More likely, they read books their friends and family have recommended, or heavily advertised books, or even books with fascinating covers. Like or agree with them or not, I suppose they're the salt of the earth and buy the most books of all, so they must be listened to.
Finding the Right Critics For Your Stories
Of course, there's no point in setting yourself up with cheerleaders and yes-men, by asking your wife, mother and employees to critique your novel. They won't be very objective.
Nor do you want to throw a well-crafted story or novel to a general group of readers. That's not giving it a good chance. Unless it reads fast all the way through, it's not likely anyone will like it much.
What you need to do is find some readers who will be receptive. That's all. You won't be serving tacos and enchiladas to someone who prefers steamed rice and Kung Pao Chicken, and hoping she likes it. You'll be giving your story a chance.
For example, if you write historical fiction, see if you can find some readers who have enjoyed it in the past, along with other kinds of novels. Choosing only historical fiction aficionados tilts the odds too much in your favor.
If you write a long, complex novel of character development in a literary mode, choose some people who read these kinds of novels. If you can find two or three of them, that's good, and you might want to include a test person who usually reads mysteries or science fiction or historical novels, too. He may tend to be a valuable devil's advocate.
Again, if you play reggae or polka, don't expect jazz lovers to be much interested in your music. Devise ways to receive reasonable critiques from people who know what they're talking about. '
Read the rest of this article here
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