• • Years ago, I stopped asking my writer friends for critiques - - though with a few exceptions.
• • • • Reasons: • • • •
a.) to ask for a favor distracts other writers from THEIR work;
b.) the author may not be as "in tune" with that particular market as you are;
c.) sometimes the person's feelings for you can get in the way - - they don't want to hurt your feelings or whatever.
• • The one exception is my book reviews. The book reviews are about 1,500 words - - so they don't take long to read. And the colleagues I send them to really groove to them and get back to me fast. . . and when it comes to BOOK REVIEWS, we all read the same publications, therefore, they are "in tune" with this market.
[This is a fortunate circumstance since I write a lot of book reviews.]
• • When I want a critique for a SHORT STORY or a full-length play, I pay for a professional evaluation.
• • As with everything, when you go to a professional for an evaluation, you usually get what you pay for.
• • If you have never paid for a critique before, you will want to evaluate the person's background FIRST. Caveat emptor.
~ ~ ~ come up and see Mae ~ ~ ~
Hi Mari,
In a way this is repeating what you already said but it might be of interest to know I used to teach these principals to my students and how I did it.
In my class I asked for three volunteers to listen to and then respond (critique) to a piece of writing. The writing I chose was something of mine and it was as much on the personal side as I could find. The reason being I wanted a level playing field. If I was asking my students to write honestly, how could I not do the same with them?
As responders I gave each student one task. One student was asked to do "say back", which means in her own words she told me what she heard. My thinking, when sharing something important, we are never so comfortable or at ease as when the person relates back to you, in her own words, the point you are making, the feeling you are expressing, or the idea you are developing. It tells in a deeper, permanent way we have connected. Isn't this a principal behind counseling and isn't that what we want for our writing, counseling?
The next student is asked to compliment the writing. As you said, nothing is ever all good or all bad. Listen for and remember something that worked in the writing and then tell the writer what that was. I can't count the number of times the writer was favorably shocked by something unexpected in his work and was motivated to use that to move on or revise. More often than not this positive response helped the writer take ownership of his work.
The last student was instructed to ask a question about the work. If the student didn't like the work, didn't understand the work, didn't agree with the work, or heard mistakes in the work they could and should respond to that but only in the form of a question. Asking a question is so less threatening than pointing out a weakness or flaw - "I didn't understand the middle part where he was talking to her, could you say more about that?" - As the teacher one thing I did here was write down what the writer said in answer to the question and than gave that to the writer. Now he had his own words to look at with time and consider what the question was and what his response was.
This technique is a model for small group work in my writing classes. We expect our students to write well, especially when they get to high school but most of our writing instruction and practice is intimidating, terrifying and humiliating (I base this in part on the hundreds of literacy autobiographies our participants wrote for the Wisconsin Writing Project - UW Madison- when I was a co-director).
There is a lot more safety and ownership in this technique. It breaks down some bad. old attitudes and goes a long way towards building a community of writers. In a community of writers it is safe to be a writer.
I believe Donald Murray was one of our great teachers, especially of writing, and this quote from him captures a huge amount of insight and wisdom. He said, "Writing is thinking, not thinking written down". I expect my students to be writers because I expect them to be thinkers.
Don
Hi Mari, I agree about having a thick skin, but would urge all writers not to grow it at the expense of their sensitivity. that is what really makes them writers. The thick skin is merely a much needed defense mechanism.
I think two things are in play:
1. First everyone wants to be nourished and loved. There are ego issues that often arise. People I-dentified with their work and if their work is criticized they take it as a criticism of them. This can pulse and shift but, in my opinion, need to be acknowledged. Namely...that they/the writer/are loved and feel safe. Obviously it's best if we can give that to ourselves but often we don't or have lost the way to do it.
2. Secondly, after feeling safe, (which may be the situation to begin with) people want to hear the truth about their piece. I think we hunger for it. Obviously the source that's telling it needs to be considered and we are the ultimate guru on our work.
Re: Critique/Feedback: I think people should decide whether or not they want feedback and, if so, what kind they want. Do they want to know if the piece works? If there are 'energetic speed bumps'? Which parts work better? What about grammar/form? Did it convey the idea intended? In other words...ask for the specific kind of critique/feedback that you want. (It could be...did you like it? or..applaud for me...or or...or etc)
Often in writing workshops where the pieces are 'raw'...newly birthed..the best critique advice that I've heard is: We are here to admire what is admirable about the piece. In other words...no negative feedback...but just what works. Obviously in longer workshops or in specific requests you can respond to individual requests to tweek the piece.
My advice to the writer would be: Imagine a tin cup 3 feet away from your body and collect all comments and critiques in there and ..when you're ready...look at each one..and see if they resonate....if they don't...then bless the sender and file them away.
Thought I would bump this up.
What a great subject. I've been to some workshops that were fair and valuable, and others that were ruthless if not downright ridiculous. You have to consider just who is giving their opinion, if they even know what they're talking about. So much nonsense gets thrown around in these sessions, the NEVERS: never write a prologue, never write in 1st person, never write in present tense, HOGWASH. I say never say never. Write well, write what comes from your heart, and re-write. There you go.
These are all wonderful advices and I'm so glad I was here to read them. One of the best ones I liked was"Get a thick skin" that was great!! Just keep on writing is very true. I also once was told that "Don't write in the first person-even my three yt.old grandaughter knows THAT" what a fallacy. Many good writers still do that. I don't know where they get these ideas. Thanks to all for such down-to-earth-advice. Zochitl
I remember one of the first times I attended my critique group. Most were experienced and exceptional writers; I was nervous. I read a short story I had written in first person. One of the members was very critical, telling me that first person stories were not publishable. Of course years later it became a trend and the person who had originally 'slapped my hand' wrote a mid-grade book in first person. Just goes to show that as writers we should take all 'criticism' with an open mind, but not view it as the definitive authority.
Thank you for that, Wonderlustwriter. When I read that person's remark something in the back of my neck told me that it wasn't right. I think one should do as one feels at the time of inspiration. If that's the way your mind sees the story then your instinct should follow that, That has never stopped the great writiers of yester year, I don't think.
Sometimes I feel my vocabulary is limited and I think that's what stops me more than anything else.
