How to Survive a Critique
By Marcy Kennedy (@MarcyKennedy)
I have a love-hate relationship with critiques.
I recognize they’re important (especially if you’re planning to self-publish the way I am), yet it hurts to hear my work isn’t perfect, and it’s even tougher to tell someone else what’s wrong with their work, which I have to regularly do as a freelance editor and the member of a critique group.
Add to that the danger that things turn nasty or devolve into back-patting and critiques can end up being a waste of your time and money.
So why bother?
A helpful critique can point out things you’ve missed, teach you a new technique, or make the difference between success and rejection. Despite the difficulties, every writer should join a critique group, find a critique partner, or have a manuscript critique done by a professional.
The trick to successfully critiquing or being critiqued is to follow a few guidelines.
Be Specific
An effective critique is detailed and offers solutions to any major problems you find.
It’s not going to help your fellow writer to tell them “something” is wrong with their scene. That’s too general to be useful. If they’ve been writing for any length of time, chances are they already know something’s off. Even telling them there’s not enough conflict is too vague. A good critique will give concrete suggestions for how to fix what’s wrong.
Think about it this way: Would you want your doctor to tell you that you have an infection and send you home to figure out how to treat it yourself? Or would you want him to tell you what to do to cure it?
Don’t Re-Write
Unless you’re co-authoring a work, your job is to tell them how to fix something and then let them do it. If you change it for them, you risk destroying their voice. You’re also not giving them the chance to learn by doing.
In addition, don’t change something just because you would have written it differently. This is their manuscript, not yours. Their unique voice is part of what it will take to eventually sell what they’ve written.
The caveat to this is that, if you’re providing an edit as part of your critique, you can (and should) correct punctuation, grammar, and formatting mistakes. You can also take out extraneous adverbs and adjectives, and suggest a stronger noun or verb to replace them. You can also tighten prose or smooth out awkward working. That’s what you’re paid for, and it’s different from a straight critique or beta read.
It’s a fine line to walk, but the more critiques you do, the easier finding the balance becomes.
Critique the Writing, Not the Writer
Every writer needs to remember this isn’t personal. A critique of your work is not a criticism of you. Every critiquer needs to be careful that it stays an objective critique of the writing.
Here are some of the major phrases to avoid:
Why would you write it that way? While your intentions might be good, this is going to come across as questioning their intelligence.
Everyone knows that . . . A new writer may not know, and you’re going to come off as a pompous jerk for telling them that everyone knows you should do this or shouldn’t do that. Just tell them what the problem is and how to fix it.
I pointed this out last time. You may have to point out the same thing twenty times, in twenty different ways, before they figure it out. Don’t demean them by mentioning you’ve told them this before. Whether they take your advice or not is up to them. And they may not have taken your suggestion because you may be wrong. Be humble enough to allow for that possibility.
Focus on What You Know
If you’re a new writer, focus on your strengths. For example, if you’ve been told numerous times that you have a knack for realistic-sounding dialogue, focus on the dialogue.
If you don’t know what you’re good at, look at the big picture. Do you see any plot holes? Do the characters seem to be acting consistently? Do you spot a better first line buried in the second paragraph?
Be Honest
Friends don’t let friends write bad fiction (or bad non-fiction). You’re not doing them any favors by sugar-coating things because you’re afraid of hurting their feelings. Be gentle and diplomatic, but please be honest. Otherwise you’re wasting their time and yours.
Don’t Argue
It doesn’t matter what side of the critique you’re on: don’t argue, don’t defend, don’t apologize.
If you’re the critiquer, give your critique and then let them take your advice or not. Explain if they ask for more details, but if they tell you your critique is a bunch of hooey, be the bigger person and don’t react.
If you’re the one receiving the critique, accept it with grace. Thank them. Then give yourself the distance of a couple of days to decide if what they’ve said has merit. They might be wrong. But once the sting wears off, you might see they were right after all. You’re going to feel like a buffoon if you lost your cool only to realize later they were right.
Put It In Writing
There are two reasons for providing a written critique along with an oral critique. First, it’s easier to be more honest in writing than in person. Second, the person receiving the critique isn’t likely to take in and remember everything you say. A written copy will help them when they get home and want to make those changes.
What’s your best tip for a good critique? What’s your pet peeve when it comes to critiques?
Image Credit: Dora Pete (stock.xchng)
I hope you’ll check out the newly released mini-books in my Busy Writer’s Guides series–Strong Female Characters and How to Write Faster–both currently available for 99 cents.
Dec 05, 2012 @ 12:39:15
The thing I think is key in choosing someone to critique your work is that you like and respect the writing of the editor or critique partner. I have been involved in critique groups and I found that people whose writing wasn’t something I enjoyed often didn’t have good suggestions about my work. But the people whom I respected as writers, they were spot on! I found it also to be true when taking classes. I once took a class I hated. After the class a friend told me that he had thought about taking the same class, but after reading the instructor’s book, he realized it was not the class for him. Now, I read something by the person before I get into an editorial relationship in any form.
Dec 05, 2012 @ 13:51:47
Excellent tip! A couple years ago, I was signed up for a mentorship class at a conference, and I ended up asking to switch instructors after reading a book by the person I’d originally signed up with and a book by one of the other instructors. I’m so glad I did. I don’t know what the original instructor would have been like, but I got more than I hoped for from the one I switched to.
Dec 05, 2012 @ 13:18:55
Hi Marcy,
I couldn’t resist commenting this morning.
I agree with Emma, “The thing I think is key in choosing someone to critique your work is that you like and respect the writing of the editor or critique partner.”
And that would be you.
You provide awesome critiques. You’re direct, yet gentle. You allow me to digest the suggestions. I never feel like I can’t ask you to clarify or question why you’ve suggested certain changes.
I’m a better writer for it. I hope. LOL
Thank you, Marcy
I don’t know what I’d do without you!
Have a happy day! 😀
Tracy
Dec 05, 2012 @ 13:53:16
Thank you Tracy 🙂 That made my day.
But I can’t take all the credit. You’re a pleasure to work with. I appreciate how you carefully consider what I say and ask questions if there’s anything you don’t understand.
Dec 05, 2012 @ 14:31:36
You’ve made my day too! 😀
Dec 05, 2012 @ 14:48:08
I stumbled into finding a great crit partner for my book. She was great about being specific and NOT trying to change my voice. She didn’t seem afraid to give opinions, and as far as I can tell, she was never offended if I chose not to take a particular suggestion.
I think that’s a big one – just like a writer shouldn’t take critique personally, if the person giving the critique makes a suggestion that the writer doesn’t take, they shouldn’t be upset by that. (If the writer is ignoring EVERYTHING, then they should reexamine the relationship 🙂 )
You hit pretty much every point I thought of when I was in the midst of this process, Marcy. Anyone approaching a crit relationship should definitely read this post.
Dec 05, 2012 @ 15:03:52
You’re so right. It’s important for the critiquer to remember that it isn’t their book or story. In the end, the writer is always the one who has the final say, and that’s the way it should be.
I learned a lot about taking a critique and about honestly giving a critique when Lisa Hall-Wilson and I first forged a crit partner relationship years ago (so long ago I don’t know exactly how many years, but I think it’s close to eight).
Dec 05, 2012 @ 15:51:03
Great advice, Marcy! I’m going to share this with my CPs.
Dec 05, 2012 @ 17:31:37
I’m a new writer and was lucky enough to find the perfect critique partner the first time around. She’s very gentle with her feedback. And she’s great about brainstorming with me when I’m struggling with something.
Recently, however, I attended a panel critque session at my local RWA chapter for several folks who submitted the first chapter of their work (I missed the deadline). As I listened to the feedback from the panel, I about recoiled in horror, only to hear them say when they were finished that they’d love to read more!
Takeway from the meeting? Put on your big girl panties before receiving a critique! And understand that the feedback is designed to help you as a writer (assuming the person has your best interest in mind).
Dec 06, 2012 @ 22:05:49
Hi Suzanne!
I’m glad you think I’m gentle. I was worried that maybe I’d be too harsh (I know I can be).
Your work is very good and your stories are so interesting. I’m looking forward to working with you more next year!
Isn’t Marcy’s blog great?
Patricia Rickrode
w/a Jansen Schmidt
Dec 06, 2012 @ 22:09:42
I had no idea Patricia was your crit partner 🙂 That’s so cool. I’m glad you’ve found such a great working relationship. I honestly wouldn’t know what to do without Lisa Wilson’s candid take on some of my projects.
And Patricia, thank you so much!
Dec 05, 2012 @ 18:41:53
Interesting that you used the word “survive” in the title of this post. My first experience with in depth critiques was hard and I did survive, at least that is what I thought back then. Now, I realize I didn’t survive it, I benefited from it. Your content in this post about how to benefit from a critique (no matter what side of it you’re on) is good stuff.
I think critiquers need a copy of the written work they are to address, rather than hear the wip orally. The quality of my critiques (giving and receiving) improve with the written work in hand.
Dec 06, 2012 @ 00:41:36
Good stuff and right on point. I had a hard time being a critique partner at first, but I realized that the people in the group were just not a good fit personality-wise. I think people have to like each other and mutually respect each other for the critiquing to work.
Patricia Rickrode
w/a Jansen Schmidt
Dec 08, 2012 @ 22:46:29
Marcy, I almost always end up bookmarking your posts for future reference. This one is no exception. Thanks for the great tips!
Dec 10, 2012 @ 04:58:12
with reviews and critiques, I try to remember that we’re talking about words on the page. it’s not my kid or my looks but my word choice. that usually helps me to keep it in perspective. great article, Marcy
Dec 10, 2012 @ 15:06:44
I think sometimes we feel like our value is tied to the value of our writing, and that’s not true. It can be so difficult sometimes to separate our work from ourselves, but that’s the only way we’ll be able to take a critique and use it to our benefit.
Dec 10, 2012 @ 11:11:29
Brilliant post and I bookmarked this. In my opinion it takes the worst edge off the critique if the writer has done extensive editing on her own first. It’s also good to specify exactly what kind of critique you’re looking for, maybe even think some concrete questions to answer.
Like you said, we might already know there are some scenes that don’t work. Let your partner/editor to know and ask for feedback about them specifically.
Great point that liking each other’s work makes the critique better. If the editor hasn’t written anything, their work samples might help deciding if you’re a good match.
Dec 10, 2012 @ 15:05:32
Letting people know exactly what she’s looking for in a critique is something my co-writer (Lisa Hall-Wilson), who’s also my critique partner for other projects, is really good at. When she comes into a critique, she’ll often tell me “I don’t want a line edit. I’m looking to know if the plot makes sense/you like the characters/etc.”