A potential crit partner returned my chapters with comments about the story itself, which I appreciated, and lots of line edits, which I didn't. IMO, when another author rewrites your words, they've gone too far.
So how do you approach a critique? A few guidelines come to mind:
RESPECT the author. The purpose of a critique is general feedback, not editing. Note what you like and what gave you pause as far as plot, characters, and setting. If you see grammar and punctuation errors, point them out and move on.
Some responders claim they don't know how to tell the author what's wrong with a given section, so they just write it out for them. Seriously? If you don't know how to phrase your concerns, it's time to Google "constructive criticism" and learn the basics.
RESTRAIN yourself (see above). It's not your story; don't presume to fix it. Yes, you need to address areas that concern you ("I'm confused here" or "Not sure if this is the best way to transition" or "I didn't connect with this character", etc.). Leave it at that. Let the author consider your comments and choose whether to act on them or not.
REMEMBER, unless a specific request has been made for editorial feedback, all anyone wants is your opinion. Share what worked, what didn't, and let it go.
What's your take on this?
April 5, 2011
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This is very good advice. And, for this reason, I have never had a crit partner. I am opting for beta readers instead. I think you have to be really careful. I know someone who nearly gave up on their project because a crit partner ripped it apart. What was her expertise for this? Probably nothing. Be wary and lay down the rules to your crit partners as to what you expect from them, and what you don't.
ReplyDeleteYou totally got that right. At a recent workshop, I gave this fellow a copy of two query letters and asked for his feedback about which pitch worked better. He started making notes about the size of the margins and crossing out words and fixing headings! I don't know how many times I said, "no, I KNOW the formatting isn't right, I just want to know which pitch works better." He still didn't get it. And mind you, one of these queries had actually gotten an agent to request the full manuscript!!!!!! I guess we just have to find the people who are actually able to do this for us. My husband is one -he is always spot on with the "what worked and what didn't" in my word.
ReplyDeleteWendy:I recently received feedback from my first-ever beta reader and I'm sold on using them for future drafts. I'm not ready to swear off critiques as I go along, though, so I've joined an online community. So far, the responses have been helpful. You do have to put in time critiquing other members' work, but that helps me identify strengths and weaknesses in my own writing, so it's a win-win situation.
ReplyDeleteMelissa: It's amazing, the liberties some people take when asked for feedback. So sorry about your experience. It's bad enough when things like that happen because communication was unclear; I can imagine how frustrated you were after being so specific.
I am a tough and detailed critiquer, it's my strength. Plot, on the other hand, is my weakness, so I'm a lousy beta reader. If I read something that is vague or I don't understand, I will say so. And I MAY suggest an example to clarify, always with the caveat that the writer use his or her own words. I never tell a writer what not to write. I never change a writer's words. And every comment includes either a 'suggestion' or 'consideration' followed by a 'because' so the writer can make up his or her own mind.
ReplyDeleteVR: That's the kind of courtesy I think every writer deserves. ;-)
ReplyDeleteI think you're right on in this. It's really hard NOT to rewrite something when it's worded badly or is confusing, but my voice is not theirs! It's faster to critique and easier for someone to fix if it just points out where something would be better changed. However that person wants to change it.
ReplyDeleteHeidi: The issue of voice is important. Someone once rewrite my beginning and she didn't get that it totally changed the tone. She thought she made it better. Obviously, I didn't send any more work her way. ;-)
ReplyDeleteWhenever I do a critique or a beta read, I try to get a clear understanding of what the writer expects from me. If they just want big picture stuff, then I do very little on the actual manuscript and just give them my overall reactions. If they want more detail, I'll go in and do line edits, but I don't rewrite. I saw that happen in a group, where someone rewrote the opening paragraph of someone's story. It was painful to experience and it wasn't even my stuff that had been rewritten!
ReplyDeleteWith my critique partners, we DO line edit as well as offer big picture responses. But we were very clear about that going into it so we knew what to expect. I've come to value the detailed comments I get back from my cps because I trust them and I know they want the best for me AND my stories.
Sherrie: Yes, it's vital to discuss expectations at the beginning and I'll be sure to do so in the future. I do appreciate CPs who point out inconsistencies and glaring grammatical errors, but I reserve the right to rewrite weak spots myself—no one else has my voice! ;-)
ReplyDeleteGreat advice. I don't do too much editing, but I focus on plot, plotter that I am. I've noticed from being in groups that critiquers tend to have strengths and weaknesses. I've sat next to people who are far more observant about characterization and voice than I am. So it helps to have several people's input, and always in a respectful manner as you outlined.
ReplyDeleteGood point about strengths and weaknesses, Medeia. I'm always intrigued at how each critiquer seems to note different things.
ReplyDelete