What Do You Need?

Sheesh. Some days I have nothing to say. Others . . .

It's important to decide what it is you really need when you ask someone to critique a few of your pages.

Are you looking for someone to tell you how wonderful you write, or are you looking for someone to help you improve?

I admit there are days when I hunger for gentle words that lift me up and feed me. Actually, there are a lot of days like that. I'm human, and I often forget how brilliant and amazing and gifted I am. It helps to be reminded. Makes me feel loved. I tell you this just in case one of these days you read something of mine I've actually slaved over. Or bake you an apple-nut cake.

But where my writing progress is concerned I only get better if I have a few doubts. Doubts that propel me to get an honest appraisal and solid advice with which to improve. I don't much care if someone wants to tell me a better way to change oil. I do want to know if there's a better way to structure a scene or insert misdirection or switch POVs.

Most of the critiques I receive are a combination of affirmation and information. Those are wonderful. I'm getting a little meat with my milk.

But you have to know what you want, and embrace what you need. They aren't always the same.

I recently read about a woman (true story) who nagged and nagged someone who was a little farther up the publishing chain to read something she'd written. The more successful author had to actually give her some credit for persistence, and after a while, acquiesced. When the woman received the feedback, she was quite upset about the critical comments. She determined that the stars were not aligned properly and thus elected to disregard any of the comments made about her writing. After all, they couldn't possibly have any merit.

If you want to be told only what a wonderful writer you are, let someone who really doesn't know very much about writing—and who loves you—read your work.

If you want to build your base, understand the architecture, and move to the next level, search out someone who will not only see where improvements can be made, but will tell you. Sometimes they'll be gentle, sometimes they'll be blunt. But it's all designed to make you think. Once you can think about the comments (rather than feel them) you can decide whether or not you agree.

And if you're having one of those "needy" moments, set the critique aside and wait until you're more open to ideas to make your writing better.




CR: 212 by Alafair Burke.

Working On: Incorporating my newest edits.


It's all better with friends.

The Art of Being Vulnerable

Anyone who creates something and allows another human being to experience it places themselves in a position of vulnerability.

For writers, it's part of the process of developing a thick skin. We seek honesty, not vacuous platitudes. If someone loves what we've created (and don't we live for that?) we want it to come from a position of knowledge of craft and the hard-knocks of personal experience. Only then does it count.

But today I discovered I can get de-conditioned to putting myself 'out there.' It's been long enough since I've submitted to my critique partners that my tummy did a little extra gurgling and I searched for reasons to delay.

I went from the need to find little things my tidy grandkids left behind after their weekend with us, to gardening, to dinner plans, to the great debate on whether or not I needed to apply mascara today (I didn't). I ended with the predicament of transitioning my proposed submission from Scrivener to Word. Not that it wasn't malleable. It just wasn't a flawless export. I mean, really. A few more hours and I think I could have figure it out.

CR: The Dead Whisper On by T.L. Hines

It's all better with friends.

Critiques vs Performance Reviews

A quick OT -- over the last several days, my husband and I had unexpected company and an unexpected wedding. After getting over the suddenness of it all, we can take a deep breath and feel that all is good. Our initial responses may have been a bit frustrated, but they were filtered with love, and love is the best filter of all.

NOW. Comparing critiques to performance reviews.

Most of us, at some time in our lives, have received a performance review. Many of us have also prepared them. For those of us who are writers, if we're lucky, we have found one or two people to share the critiquing process with.

Giving and receiving either can be anxiety factories. How to encourage and inspire? How to edify and uplift? How to evaluate and learn? What to receive and what to reject?

Here's where they're the same: there are certain fundamentals that must be mastered. On the job, you have a skill-set that translates to productivity for your employer. On the keyboard, you have a skill-set that translates to productivity for your reader.

There are objective and subjective areas in both. Quantifying results and management style. Grammar and artistic license.

Here's where they're different: a performance review has the power to change your life. From a promotion to a demotion to a you're-outta-here, a performance review can alter the fundamental way you survive.

With a critique, you can accept the comments or toss them out with the coffee grounds. A good critique leaves the power with you, the writer.

THE BELL CURVE

I've thought about this a little and believe that in the beginning, when everyone is learning the basics of writing, there is no problem with writers of different genres critiquing one another. The subtleties of suspense compared to romance compared to fantasy can all be layered in during later learning. The basics of POV and backstory issues are the same in every genre.

The curve widens where craft concepts need to fold into genre styles and elements. This wider part of the bell may be better served with writers who are on the same learning curve and writing in the same category. Pacing is different with suspense than it is with womens fiction.

At the other end of the curve is where you'll find writers who are comfortable writing their chosen genres, who have figured out a couple of key elements, and who understand enough about the other types of books they can identify the subtle differences. At this level, I think multiple-genre critique partners can work as well as they do for the beginning writers.

TO HAVE SOMEONE CRITIQUE OR NOT?

Personally, I love another set of eyes. Sometimes what's in my head about a certain situation never actually made it to paper.

I have grown as a writer because other writers have given me criticism, both positive and negative.

But not every writer wants or needs a critique partner. There are authors out there who never share their work while they write. My guess is they have established themselves and work with editors who understand their weaknesses and strengths from the get-go. I have to admit I'm a little curious as to the level and complexity of the edits they receive from the publisher.

WHERE TO FIND A CRITIQUE GROUP

Join an association of writers. Most organizations have online critique groups available to their members.

Check with your local library. If they don't have one (or they're all full) start one of your own.

Technique is noticed most markedly in the case of those who have not mastered it.

~LEON TROTSKY

CR: Her Royal Spyness by Rhys Bowen.

It's all better with friends.