First off, there are ways to help prevent a critique situation from getting to the point you’re walking away angry.
It’s called communication.
And communication is a two-way street of talking and listening. In my last post, I mentioned some critique situations that, while they were good for a while, wound up ending with hurt feelings, or anger, or in some extreme cases, loss of friendships.
Lack of communication and misconceptions regarding perception and reality.
In a critique situation, you’re responsible for clearly stating your needs. And your needs, from critique to critique can be different. I have asked Casey to read just for plot. Or to look at one character in particular. I’ve asked to only look for when I’m being lazy with passive voice. I’ve asked her to look at all three.
It’s Casey’s responsibility to tell me if she can do that or not. And in the time frame I need.
It’s my responsibility to tell Casey if something is bothering me in her critique. Or to ask questions about something I don’t understand. Or even go back to her and ask for more suggestions. It’s up to me to tell Casey if I’m feeling neglected. Or if I don’t feel like she’s giving my work the attention it needs. I can’t expect her to read my mind.
Casey and I have a unique critique situation because it’s not just about reading each other’s work. It’s about helping the other at all levels of our writing career. It’s about brainstorming plot. Character. Discussing career decisions. Conferences. This blog. The Boxset. Future writing projects together. It’s not one-demential. That said, I still need to make sure I’m telling her how I feel about the critique part of the relationship.
But there are times to call it quits and to me it’s pretty simple.
When you either no longer can give your partner what she needs/wants or you are no longer getting what you need/want AFTER you’ve discussed the issues.
But you HAVE to know the issues because wants/needs go back to my rule about perception and reality. I could really think I’m giving Casey exactly what she wants and she could be sitting on the other end going, bitch, don’t you ever listen to me? I told you I wanted it this way!
Then the question becomes: Did she tell me? Did I choose to ignore? Did I misunderstand? How long has this been going on?
No relationship is without it’s disagreements, fights, and problems. But you have to decide how important is that relationship and what can you do to fix it? If anything.
There is a fundamental problem with critique relationships. Writers are notoriously filled with ego on the one hand and horrible insecurity on the other. I often worry Casey will get mad at me when I’m so brutally honest about something. And, I’d be a liar if I didn’t think damn, I’m smart, now take that correction!
When I think either of those things, I need to step back and adjust my thinking. A tall glass of wine usually helps. LOL. But I’m being serious. Not about the wine. When either ego or insecurity is ruling your critique process, it becomes toxic…to the other person.
So, when I’m contemplating pulling back my thoughts, I have to think to myself, is this going to help Casey? If, I’m thinking I’m right and she should listen to me, then I need to pull back and again, ask myself, is this going to help Casey?
Because it’s not all about me. Actually, it is but only when she’s reading my work.
So, when do you call it quits?
When you’ve done everything you can, but you still feel like shit every time you see an email from your critique partner.
Actually, call it quits before that. That way you can remain friends. It’s like a TV show. Go out on top. LOL.
This isn’t me. I know, you’re shocked, right? LOL. My stomach has not been this flat since I was 8. And I’m definitely not rolling in enough money to have an office that looks like that. If I did, not gonna lie, I wouldn’t be getting much writing done. I’d be sniffing all the book interiors like a child of the 90’s huffing White Out.
This week we’re going to talk about common misconceptions about critique… for me, this is short and sweet. It comes down to one essential fact.
There are limits to a critique partner’s abilities!
Critique has the unique ability to both tear an author to shreds and build up their ego to mass proportions…often at the same time. It temps an author with a false sense of security.
It’s a misleading seductress…don’t fall for that shit!
Are you expecting miracles with the critique process? You think this means you can short change editing, skip beta reading, eschew a final read through with your own eyes?
Don’t tell yourself that lie.
- Critique is not a copy edit or a replacement for copy editing.
- Critique is not set in stone. It’s not all the right answers to the final exam.
- Critique is not a full reader perspective. Critique is not a replacement for a team of readers with different thoughts, feelings, beliefs, and life experiences.
- Critique is not a shortcut past all the other steps to polishing your work.
Critique is not line or copy editing. My focus as Jen’s critique partner is first and foremost story. We’re essentially developmental editors for one another and since we are, our focus is character and plot. We’re focused on wordsmithing the hell out of each chapter. In that process, we can’t also be focused on the technical aspects. After all, there’s a reason why there are different types of editors and why it’s always a good idea to hire different editors to do different types of editing. Fresh eyes for every level of correction. Don’t look for this from your critique partner. They make catch a few things here and there, but there’s no way in hell they’re catching everything. Hell, I have a BA in English Literature and still can’t master commas or proper dialogue punctuation. My verb tenses? A bloody nightmare. At this point, I would need rigorous training in order to even consider editing either punctuation or verb tense.
Critique is not set in stone. Jen’s opinion and commentary on my work, and mine on hers, is not the be all end all. It’s subjective. You take what advice resonates and leave the rest. If a comment resonates to a degree, but you don’t like your critique partner’s suggestion for how to fix it or change it, talk it out. It’s possible that the solution is somewhere in the back of your mind and by picking it apart together you’ll come up with a solution that fixes the issue, but is also a solution you’re comfortable with. It’s all pliable.
Critique is not the reaction all readers will have. Being an author changes how you read. Period. This colors our reaction to one another’s work. In order to get a true reader reaction…before publishing, of course, the story has to land in the hands of beta readers. Beta readers who are straight up readers and fans of the genre…in other words, don’t hand your chick lit or contemporary romance rom-com to an avid thriller reader. You won’t like the way it all turns out.
Critique is not a replacement for your own final read through. This really goes along with the editing. You have to read through your story one final time…after critique, after beta reading, after editing, and even after proofreading. There are no shortcuts in this. You’re the one who has it all riding on reader reaction. You’re the one with a fan base you don’t want to lose or maybe a fan base you’re trying to build. Don’t take shortcuts. Readers will notice. They’ll tell their friends. They’ll post it on social media. Worse, they’ll put down your book and never pick up another one you write. Can you afford to lose a loyal reader or a potential new one? No. None of us can.
Stay tuned for Jen’s take on the misconceptions of critique coming Monday!
I was sick yesterday and couldn’t get my brain to function properly. I apologize for being a day late in this post!
Let me ask the question again: Does critique make us a better writer?
My answer: Yes OR/AND No.
Casey made a comment a while back about taking care of what she has when it comes to her critique partner. Well, you have to do the same thing when it comes to your writing. If you don’t use it, stretch it, keep learning and growing, you’ll become a very stagnant writer. (Casey’s eyes are twitching. I used the word VERY and I left it there just to make her cringe. I’m so mean!)
So, what does this have to do with critiquing and becoming a better writer?
It goes back to finding the right critique partner or group. The wrong one can be detrimental to your writing. You want to work with writers that want to lift you up while they tear you down. KIDDING, sort of. We’ve said it before, but it’s worth reporting, you want writer’s who will check their ego at the door and focus on helping, not picking.
But there are other problems with critique groups that can injure your writing.
I remember back in the day when I was a contest junkie. I entered two manuscripts in an unpublished contest. They both finaled! Go me! So, I got the same final judge who wrote me an interesting note. Oh, and no, I didn’t win that contest. But it was more than worth the entry based on what this judge, who was an editor at HQN, said to me.
In a nutshell, she told me in one book she felt like my unique voice had been stripped. She said it was well written and blah blah blah, but it was the blah that got to her. There was nothing different about it and it was almost as if it had been critiqued to death. Where the other book was raw and full of powerful characters that popped right off the page. Of course, she told me that one had a few different kind of writing mistakes that as I learned my craft, I’d learn how to fix.
What I had done was taken in EVERY stitch of advice and changed that book based on probably 15 different opinions (including judges from contests) as I rewrote and rewrote until it became a clump of perfectly strung together sentences (stop laughing Casey, it does happen sometimes), but had no meat. No substance. It didn’t have that special something that made it a Jen Talty book. Flatter than a crepe.
To this day, that comment has stuck with me. It’s why I don’t have a ton of readers. I have Casey. I have Beta Readers, and I have an editor. And I change up the beta readers, not having the same one read all the time.
That wasn’t on my critique partners/group/others. That was on me. And frankly, not all advice is created equal, especially since I had gotten contradicting advice on one particular element of the book.
Another thing to consider is while you can pick up good habits from being critiqued and critiquing, you can also pick up bad habits. And this isn’t something you obviously do subconsciously. It’s why Casey and I both agree, you need to pick partners that are close to your level and have the same goals. You also want to make sure that the person critiquing your book isn’t projecting their own writing and ideas into yours. Meaning, they’re honed in on how THEY write and not how YOU write (though below you will see how it can be done in a way that shows it’s an opinion).
It works the same in reverse. Whenever someone makes a comment that makes me immediately shake my head, nope. You’re wrong. Screw you. I need to consider why I had such a strong reaction. Usually means that there is at the very least, a hint of truth in the comment.
One thing that Casey and I will do in a comment is write: I would do or if this were me. That’s qualifies the opinion. We only do this when we KNOW we’re projecting. That is key: Understanding the difference between suggesting something based on an analysis of the writing and telling a writer an opinion.
Here is an example of making a suggestion based on analysis:
This is based on analysis of my writing, specifically of my character development and is the character behaving as I have crafted. It took some fineness for me to change this in a way that really worked, but the comment really made me think about what my possessed character was doing and how she was changing.
Here is an example of a comment made based on an opinion:
The reason I wanted to show these in a wrap about critiquing is that I truly believe it’s important to understand we all have different perspective and realities. This is Casey’s opinion and she states it clearly. It’s not about the writing. It’s not about how to make the scene better. It’s an opinion and trust me, I’ve given her my fair share of opinions on things I absolutely would not do or would not want to read. It doesn’t make what I did wrong. Or right. And to be frank, I left the reference in. Did I take a risk? Sure. But I also took a risk in another book by dealing with religion and how it can affect relationships.
But here is the deal. I’m glad she made the comment, giving me her opinion. I trust and value her critiques. It doesn’t mean that I think she’s the be all end all. But I left that comment bubble in the book until the very end and went back to it and decided it went to a point I had made later on in the book.
I have found that when I’m in the right situation, I find myself pushing to be a better writer because as I read my partners material, I’m thinking, damn that was good. I want to be able to write like that. Or as I read their comments and analysis, I think, wow, that’s interesting. I never looked at it that way. It’s why Casey and I are good together. Her strengths are very different from mine, so we’re constantly learning from each other.
Being critiqued is as important as critiquing. It only works when each person takes responsibility for their own writing and their own comments and analysis of one’s work.
So, yes. Critiquing can absolutely make us better writers, but we have to be aware of the built in pitfalls and constantly question both yourself, and you’re partner.