There is a bit of controversy out there in writer critique land if you should be giving your critique partner your best work or your first draft. The answer to that is not whether one is right or wrong, but what one is looking for in a critique, what one wants to give in a critique, and what one believes will best serve them. I also think, the answer come in where you are in your writing career and the development of your craft (which is always getting better). Casey and I will cover that in another topic soon.
When Casey and I first met. We both came at this critique thing with each other wearing protective gloves. This is because we both had bad past experiences. Those experiences helped us shape the critique process we have now. Neither of us wanted a line edit. We didn’t want proofreading, although we’d say, if you see, feel like fixing it, go for it! We also didn’t want smoke blown up our skirts. We wanted honest and real.
Last week Casey talked about taking care of what you have and not becoming complacent as a critique partner.
Every time I get a critique back from Casey I get excited about finding out all the things she found wrong, or that could be better, or that I missed an opportunity, where I can amp up the tension, make a reader care, whatever. If I ever got a crit back from her that had a comment or two, a few fixed typos, and tells me I did a good job.
She’d be fired.
Of course, the few times (okay, maybe once in the last, I don’t know, two years) I’ve gotten a critique that had very few critical comments. I immediately picked up the phone and said, “WTF? There has to be something wrong with this bad boy.” To which she replied, “It was a real shocker to me too, but other than that one area, I thought, damn girl, you rock.”
Trust me, the next one that came back, I saw so much red I cried tears of JOY! See, I like editing and rewriting. It’s my favorite part of writing. I’m that weirdo that HATES drafts, except first chapters, but I digress. I’ve never thought I’ve gotten anything “right” on the first try. I shine in second and third draft. I layer in second and third draft. Though, because I focus on action and dialogue, I often miss little opportunities, which is why I need Casey to constantly show me where I can amp up the tension and emotion. Without her, I think my books would be a bit flat.
Her post last week talked about taking care of what you have and not becoming complacent. Now let’s look at what Casey does…one thing she has a tendency to do is give me way too much information in a short period of time. I’m overwhelmed. The reader might be overwhelmed. She might have a reason for doing it, but if I don’t keep pointing out when I’m bored, or she’s beating me over the head with something, or I’m lost in the detail and not the story, or I’m starting to skim, not carrying much about what she’s writing, then she might not know where she’s mucking up. Thing is, almost every time I tell her this, she’s like, well this person or this thing is important because of XYZ. Okay, but there is NO NUGGET that makes me care. You have not planted that SEED. Give that to me! And she always finds it usually by doing two things. Tightening where she can, giving the reader only what they need in that moment, and finding that one little bomb that says, you need to know this. But poor Casey is stuck with me giving her comments like this.
Or, I often toss a bunch of questions at her about what I’m reading. I don’t have to have the answers because you have to remember, she might want me as a reader to be thinking all this stuff. Or it just might be, okay, I don’t HAVE to give the reader all this right now and it goes back to what does the READER HAVE TO KNOW RIGHT NOW.
Now, some of you might be thinking, God, Jen, you’re mean. Or geez, Jen, why are you airing CASEY’s dirty underwear out there. And I want to make this clear. The reason why I’m giving you examples of my critique of Casey is to show how I’ve come to know her as a partner and how I help her make her writing better. Basically, calling her on her shit. And her calling me on mine. Not only do you have understand your partner’s voice in draft mode, but you have to understand how you critique. It’s essential that you’re working on their writing, not projecting your own into.
Another thing to consider is to be assertive in what you need. There have been times when I’ve said to Casey that I really need you to look for certain specific things. It’s not because she’s not doing it, but it’s good to restate your needs.
Also, when writing something that is a little out of my comfort zone, I will ask her to focus say emotion or character development.
And here is another thing to consider, sometimes we focus on what WE do in our writing and not what THEY do.
If I’m told often enough that I have a specific bad habit, I will start to notice it in everyone else. It’s part of learning who you are as a writer.
I think Critiquing in DRAFT MODE is an important concept because too often we focus on the mechanics. The Oxford comma. The word WAS. We’re not line editing. We’re not really even being developmental editors. We’re doing a stream of conscious commentary on a writer’s draft. Understand, that the draft may go under many edits after that. I’m just seeing Casey with her pants down.