One day, long ago, in a round hotel, by a casino, in town not so far away, Casey and I sat eating cheese and drinking Diet Coke contemplated the topics we might cover here in the world of the Crafty Word Slingers. I sat with a yellow pad in my lap and created a schedule as we brainstormed our ideas. Ha! Brainstorming will be a topic in the coming weeks!
As you can see, I’m a very tactile person. I like to hand write things. I have an iPad and an Apple Pencil now and I love it. But I digress.
I’ve always tried to live by the idea that perception is reality. While we each might experience the same event our realities could be vastly different. I hate rollercoasters. They terrify me. So the few times I’ve gotten on one, it’s been hell. But my husband loves them, so for him, the same exact event is spectacular!
So, while Casey and I shared the same space for a great weekend (this I know she’d agree on), the ideas we settled on for this blog, our perception of what we decided might be different.
Why am I bringing that up? Because this can often lead to a misconception and misunderstanding.
I’m going to state flat out, that I agree with Casey’s post, especially that critique is not a shortcut past all the other steps to polishing your work, whatever those steps might be for you.
I remember my very first critique group. It was four authors. One published. Three unpublished. It was a great group. We meet up once a month, though we often tried to do it 2x a month. We sent each other a few chapters to read and when we got together, we openly discussed the work. I’ll never forget one author saying to me, “Molly, you in danger, girl!” Essentially telling my character was behaving like she was too stupid to live! We had one rule. The person being critiqued couldn’t talk until after all the other authors had their say. I love critiquing like this. It was like sitting back and listening to reader discuss your work, only it was your peers. At the end, we all gave each other the notes we’d made on the manuscript. This often had other mark-ups, like line-edits, tense issue fixes, typo corrections. If someone didn’t have anything for us to read, but wanted to brainstorm, then their time was used on that. I really feel like my storytelling really improved during my time with these women. They helped me develop three-dimensional characters and compelling plots.
But as things often happen, things changed and the group stopped meeting for a variety of reasons, one of which it didn’t work the same way it had in the beginning. Some of us were doing more work than others. Some of us were doing different things. It eventually became a grind, and not a positive.
I was devastated, but found another group. Five writers. All unpublished. We did chapter by chapter. I also loved critiquing this way. I got a wide range of opinions, but what was interesting about this group is that each one of us tended to focus on different things. Two of us (not me) did mostly line-edits. Very little story or character. Just line-edits. Let me tell you, I leaned a lot from those two women. It strengthened my writing in a different way. There were two of us (yes me) who focused more on plot. We were always asking them: what’s the conflict? Or, why are these people doing this? Does this matter? Is this driving the story forward? The 5th woman tended to only focus on character. And damn, could she write some really creative characters. I loved her characters and she helped us all with ours.
But this group had its own set of flaws and it created misunderstandings. Hurt feelings and eventually, it too collapsed.
I’ve been in some bad critique situations where every time I got a critique back, I had to go take a long walk before I opened it, knowing that it was going to make me feel like shit. As Casey said, critiques can tear us to shreds. This is why I always suggest you take baby steps into any critique situation.
But more importantly, not only do you have to take care of what you have, you have to take care of what you give.
I believe there are many misconceptions about critique, but it all starts with self and our perceptions of what we give and what we want to take. I talked about some of my critique situations because honestly, at the time, my expectations of critique were different ten years ago then they are now. My needs are different. My perception is different, therefore so, is my reality.
As a critique partner, you have to realize that you’re reading with a bias. Not necessarily for the writer, but for yourself. You come in with your own judgments and personality. Your ideology about story and writing. You’re own process. You have strengths and weaknesses. You have blindspots.
And so does your partner.
The misconception is that these things don’t affect how you give advice and how you take it. I believe it is very important to understand your own process in writing. The more you do, the better a critique partner you will be, because it will no longer be about you and your perceptions, but about your critique partners.
Next week. When to call it quits! Oh boy. I’m going to have fun with that one!