How many of you have stared at the email from your favorite crit partner and friend that contains your critted manuscript with absolute dread? The only thing I know that comes close is the shot of fear when I see the letter from the IRS in my mailbox.
I adore my crit partner. She is a dear friend and someone I trust IMPLICITLY and still I feel like reaching for the Ativan when she emails me that manuscript. And this has always been the case for me no matter who my crit partner was at the time. And she says the same thing about me. LOL
Let's face it, critiquing a manuscript is a hard thing and yet it is one of the most valuable gifts we as authors can give to each other.: honest, compassionate, and sometimes painful critique of a beloved story. Finding the right person to share this with can make the process, well not easy, but incredibly important for our growth as authors.
So where do we start? I think we start with first principles. Why are we here and what do we expect to learn? We're going to pull heavily from Theresa Bodwell's Four Point Critique which was also taught by Melinda Pierce and Liz Pelletier. We will also present Liz's suggestions for editorial letters. If you have never thought about writing an editorial letter for a critique you have missed a truly useful tool! But before we dive in let's talk about how we give feedback.
Lecture 1: What makes a good critique?
{Original lesson below prepared by Teresa Bodwell and adapted by Melinda Pierce 2013}
{The Four Point Critique System by Teresa Bodwell © Teresa Bodwell 2009}
A critique that tells you how great everything really doesn't help you very much. On the other hand, it's very easy for a critique to become negative and that's not helpful either.
Part of the problem is the word “critique.” Like “criticism” and “critical” this word has a negative connotation in common usage. Take a look at the definition of criticism from Webster's Unabridged Dictionary:
1 a: the act of criticizing usually unfavorably: faultfinding disapproval and objection b: CRITIQUE
2 obsolete: a subtle point or fine distinction: NICETY, SUBTLETY
3: the art of evaluating or analyzing with knowledge and propriety works of art or literature; broadly: similar consideration of other than literary matters (as moral values or the soundness of scientific hypotheses and procedures) “
The kind of criticism we're talking about in a critique is closest to the third definition: “the art of evaluating or analyzing with knowledge and propriety works of art or literature.
I like this description because it defines criticism as an art itself and I believe that critiquing is an art. Because it's an art, we immediately know that there is an element of subjectivity. The rest of the definition is useful too because a good critique is made with knowledge and takes into account the nature of the piece.
One reason a critique from a fellow writer is preferable to the opinion of your Aunt Matilda who reads a lot (or is a great proofreader or used to write for a newspaper, or fill in the blank) is because the fiction writer has an understanding of POV, use of dialogue tags, importance of an opening hook and all the myriad things that make up a good novel.
So―you all have come to the right place in looking for helpful critiques from people who have the knowledge you need or are working to acquire that knowledge.
Using that knowledge we can be positive in providing feedback about the novel. For example, you see a page of dialogue like this:
Sam sat down at the counter, eyeing the donuts displayed on the domed platter.
“Can I help you?” the blonde waitress asked.
“I'd like the chocolate glazed and a cup of coffee.”
“Cream and sugar?”
“Got two percent?”
“Sure. No problem.”
“Great.”
“One chocolate glazed and a coffee with low-fat milk.”
“Perfect. Thanks.”
“Coming right up.”
There are several problems with this scene including the fact that it is boring as heck, it doesn't seem to be going anywhere and it features two talking heads. After the first line, we have nothing to help the reader picture real people interacting.
All of these comments are true and might even be valuable, but they aren't positive. Wording comments negatively run the risk of causing the author to be defensive and not hear your critique. Instead, provide a positive criticism that gives not only the problem but the suggested solution for improvement.
Maybe comment something like this:
Sam needs a goal in this scene.
The scene needs some additional description and action to give the reader a better picture of what is going on.
Now―when you're dealing with a crit partner you know well, you may develop a shorthand. My crit partners could just write “talking heads” on this page and that would be enough for me. My crit partners know I understand this concept and I know how to fix it.
Another comment we might make for this scene is―this just doesn't work for me.
This is honest criticism. It doesn't work. But it's not useful because it isn't specific. On the other hand, “Might need more dialogue tags―I lost track of who is talking”works. It is specific and helpful. It also acknowledges that this is a subjective judgment.
Now, sometimes you will hit something―usually a sentence or perhaps a word choice that just stops you when you're reading, but you don't know why. You go back and you re-read and it stops you again. At some point, you just have to say―“this stopped me and I'm not sure why”.
Personally, I want to know when a word choice or sentence stops a reader because I want all my words to flow. I want the reader turning pages. So if it stopped you I want to know so I can reconsider.
Here's an example from my first novel, Loving Mercy. I remember when I first submitted this to my crit partners years before it was published. One of my crit partners was stopped in this scene and gave me something to think about. This is at the end of the scene where Mercy, a widow, first meets the hero, Thad and she wants nothing to do with him.
The maverick turned back to Mercy, studying her from under his broad-brimmed gray hat. She suddenly felt as though she were wearing an overly tight bodice, which was ridiculous since she never wore such silly things.
“We should be properly introduced.” He removed his hat and made a slight bow, flashing that roguish smile again. “Thaddeus Buchanan, at your service, ma'am.”
“Mrs. Clarke.” She pulled the “Mrs.” around her like a shield and refused to take his offered hand.
“I'm Miranda,” her sister jumped forward and took Buchanan's hand. “Miranda Chase.”
“Mr. Buchanan,” Mercy interrupted, “I believe I made it quite clear this morning,” Mercy looked over Buchanan's shoulder, unwilling to meet those eyes again, to let that smile melt her resistance. “I don't need your help.” She pulled Miranda close, and stormed down the uneven boardwalk, gusting past several bewildered strangers.
Now, when my partner read this she just didn't get what “gusting past several bewildered strangers” meant. It seemed like an odd word choice to her. It is an odd word choice since “gust” is usually applied to wind and not people. But to me, it is a vivid description. I decided to keep the language.
My critique partner was wrong―but not in any objective way. Actually, if we look at it objectively she was correct. But this isn't an objective business. It is an art.
It is your story and your job as an author is to protect that story. You listen to the critiques with a goal of making your story as good as it can be. But never change things unless you feel right about making that change.
What's the lesson for a critter? Be aware that odd word choices and sentence structure may be a matter of voice and style. It doesn't mean you don't mark these things. If it stopped you―or stands out to you as an error or incorrect usage―you should mark it. But always respect the fact it isn't your story.
You might properly comment: “Gusting” is an odd word choice here. Do you mean bustling past the stranger?
Do not mark it this way:
She pulled Miranda close, and stormed down the uneven boardwalk, gusting [INCORRECT, CHANGE TO BUSTLING] past several bewildered strangers.
Think about marking it something like this:
She pulled Miranda close, and stormed down the uneven boardwalk, gusting [Seems like an odd word choice to me. OR Not sure of the word choice?] past several bewildered strangers.
What's the lesson for a critter?
Be aware that odd word choices and sentence structure may be a matter of voice and style. It doesn't mean you don't mark these things. If it stopped you―or stands out to you as an error or incorrect usage―you should mark it. But always respect the fact it isn't your story.
Quick note here: This is a lesson on line critiquing. I guess we could have started at an editorial letter or plot crits but most of us when faced with critiquing start with line crits. It is not the only way to start and we'll talk about that a bit later on!
I adore my crit partner. She is a dear friend and someone I trust IMPLICITLY and still I feel like reaching for the Ativan when she emails me that manuscript. And this has always been the case for me no matter who my crit partner was at the time. And she says the same thing about me. LOL
Let's face it, critiquing a manuscript is a hard thing and yet it is one of the most valuable gifts we as authors can give to each other.: honest, compassionate, and sometimes painful critique of a beloved story. Finding the right person to share this with can make the process, well not easy, but incredibly important for our growth as authors.
So where do we start? I think we start with first principles. Why are we here and what do we expect to learn? We're going to pull heavily from Theresa Bodwell's Four Point Critique which was also taught by Melinda Pierce and Liz Pelletier. We will also present Liz's suggestions for editorial letters. If you have never thought about writing an editorial letter for a critique you have missed a truly useful tool! But before we dive in let's talk about how we give feedback.
Lecture 1: What makes a good critique?
{Original lesson below prepared by Teresa Bodwell and adapted by Melinda Pierce 2013}
{The Four Point Critique System by Teresa Bodwell © Teresa Bodwell 2009}
- Positive
- Constructive
- Specific
- Honest
A critique that tells you how great everything really doesn't help you very much. On the other hand, it's very easy for a critique to become negative and that's not helpful either.
Part of the problem is the word “critique.” Like “criticism” and “critical” this word has a negative connotation in common usage. Take a look at the definition of criticism from Webster's Unabridged Dictionary:
1 a: the act of criticizing usually unfavorably: faultfinding disapproval and objection b: CRITIQUE
2 obsolete: a subtle point or fine distinction: NICETY, SUBTLETY
3: the art of evaluating or analyzing with knowledge and propriety works of art or literature; broadly: similar consideration of other than literary matters (as moral values or the soundness of scientific hypotheses and procedures) “
The kind of criticism we're talking about in a critique is closest to the third definition: “the art of evaluating or analyzing with knowledge and propriety works of art or literature.
I like this description because it defines criticism as an art itself and I believe that critiquing is an art. Because it's an art, we immediately know that there is an element of subjectivity. The rest of the definition is useful too because a good critique is made with knowledge and takes into account the nature of the piece.
One reason a critique from a fellow writer is preferable to the opinion of your Aunt Matilda who reads a lot (or is a great proofreader or used to write for a newspaper, or fill in the blank) is because the fiction writer has an understanding of POV, use of dialogue tags, importance of an opening hook and all the myriad things that make up a good novel.
So―you all have come to the right place in looking for helpful critiques from people who have the knowledge you need or are working to acquire that knowledge.
Using that knowledge we can be positive in providing feedback about the novel. For example, you see a page of dialogue like this:
Sam sat down at the counter, eyeing the donuts displayed on the domed platter.
“Can I help you?” the blonde waitress asked.
“I'd like the chocolate glazed and a cup of coffee.”
“Cream and sugar?”
“Got two percent?”
“Sure. No problem.”
“Great.”
“One chocolate glazed and a coffee with low-fat milk.”
“Perfect. Thanks.”
“Coming right up.”
There are several problems with this scene including the fact that it is boring as heck, it doesn't seem to be going anywhere and it features two talking heads. After the first line, we have nothing to help the reader picture real people interacting.
All of these comments are true and might even be valuable, but they aren't positive. Wording comments negatively run the risk of causing the author to be defensive and not hear your critique. Instead, provide a positive criticism that gives not only the problem but the suggested solution for improvement.
Maybe comment something like this:
Sam needs a goal in this scene.
The scene needs some additional description and action to give the reader a better picture of what is going on.
Now―when you're dealing with a crit partner you know well, you may develop a shorthand. My crit partners could just write “talking heads” on this page and that would be enough for me. My crit partners know I understand this concept and I know how to fix it.
Another comment we might make for this scene is―this just doesn't work for me.
This is honest criticism. It doesn't work. But it's not useful because it isn't specific. On the other hand, “Might need more dialogue tags―I lost track of who is talking”works. It is specific and helpful. It also acknowledges that this is a subjective judgment.
Now, sometimes you will hit something―usually a sentence or perhaps a word choice that just stops you when you're reading, but you don't know why. You go back and you re-read and it stops you again. At some point, you just have to say―“this stopped me and I'm not sure why”.
Personally, I want to know when a word choice or sentence stops a reader because I want all my words to flow. I want the reader turning pages. So if it stopped you I want to know so I can reconsider.
Here's an example from my first novel, Loving Mercy. I remember when I first submitted this to my crit partners years before it was published. One of my crit partners was stopped in this scene and gave me something to think about. This is at the end of the scene where Mercy, a widow, first meets the hero, Thad and she wants nothing to do with him.
The maverick turned back to Mercy, studying her from under his broad-brimmed gray hat. She suddenly felt as though she were wearing an overly tight bodice, which was ridiculous since she never wore such silly things.
“We should be properly introduced.” He removed his hat and made a slight bow, flashing that roguish smile again. “Thaddeus Buchanan, at your service, ma'am.”
“Mrs. Clarke.” She pulled the “Mrs.” around her like a shield and refused to take his offered hand.
“I'm Miranda,” her sister jumped forward and took Buchanan's hand. “Miranda Chase.”
“Mr. Buchanan,” Mercy interrupted, “I believe I made it quite clear this morning,” Mercy looked over Buchanan's shoulder, unwilling to meet those eyes again, to let that smile melt her resistance. “I don't need your help.” She pulled Miranda close, and stormed down the uneven boardwalk, gusting past several bewildered strangers.
Now, when my partner read this she just didn't get what “gusting past several bewildered strangers” meant. It seemed like an odd word choice to her. It is an odd word choice since “gust” is usually applied to wind and not people. But to me, it is a vivid description. I decided to keep the language.
My critique partner was wrong―but not in any objective way. Actually, if we look at it objectively she was correct. But this isn't an objective business. It is an art.
It is your story and your job as an author is to protect that story. You listen to the critiques with a goal of making your story as good as it can be. But never change things unless you feel right about making that change.
What's the lesson for a critter? Be aware that odd word choices and sentence structure may be a matter of voice and style. It doesn't mean you don't mark these things. If it stopped you―or stands out to you as an error or incorrect usage―you should mark it. But always respect the fact it isn't your story.
You might properly comment: “Gusting” is an odd word choice here. Do you mean bustling past the stranger?
Do not mark it this way:
She pulled Miranda close, and stormed down the uneven boardwalk, gusting [INCORRECT, CHANGE TO BUSTLING] past several bewildered strangers.
Think about marking it something like this:
She pulled Miranda close, and stormed down the uneven boardwalk, gusting [Seems like an odd word choice to me. OR Not sure of the word choice?] past several bewildered strangers.
What's the lesson for a critter?
Be aware that odd word choices and sentence structure may be a matter of voice and style. It doesn't mean you don't mark these things. If it stopped you―or stands out to you as an error or incorrect usage―you should mark it. But always respect the fact it isn't your story.
Quick note here: This is a lesson on line critiquing. I guess we could have started at an editorial letter or plot crits but most of us when faced with critiquing start with line crits. It is not the only way to start and we'll talk about that a bit later on!
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