Writing Critiques Gone Wrong: What Just Happened?
This is Part One of a three-part series on best practices to run or participate in a writing critique session or group.
The article accompanies Give a Good Critique: 10 Tips for Helpful Writing Feedback and Get a Good Critique: 8 Tips for Prepared, Receptive Writers, both adapted from the Nov. 2012 print edition of CBW–LA Scribblers’ Scoop.
Great news! You’ve just been invited to a critique group — someone is actually soliciting your advice. You get a sneak peek at a brand new story (well before the general public could ever see it) and you have the power to influence it and make it better. Hooray!
But when you open your mouth to share your wise, ever-so-helpful feedback, the writer shuts down. They’re defensive and closed off, clearly not listening to what you have to say.
What gives?
There are two primary roadblocks to a good critique:
- The writer is a feedback novice. A little wet behind the ears, they really just wanted to hear someone say:
“Your story has gone beyond every story that has come before. It is new. It is brilliant. It is literary perfection incarnate. You have written the next great American novel. You will be thus be rewarded with fortune and fame, and I would be honored if you would be so kind as you remember my name while traveling the world to spread your good story.”
Absent such praise, the writer is jilted and turned off.
This is a writer who was not really soliciting your feedback and advice; they showed up to a critique session expecting an effusive complimentary session and a ticket to that unicorn of instant success. There’s not much you can do. Don’t blame yourself. If they stick with the industry, this attitude will eventually fade.
In the meantime, smile, wish them the best, and move on. (Unless they really are a brilliant genius unicorn. In that case, you might want to bite your tongue, accept a few real-life character flaws and make sure they do indeed remember you “when.”)
2. You’re not doing it right. Sorry to say, this is the more likely scenario.
You got so wrapped up in the idea of giving someone advice that you forgot that the writer is human too. Think about it: It’s hard to stomach advice. Even when you’ve asked for it. Even when you know you need it.
That means that it’s the critique-giver’s responsibility to recognize and respect the writer’s vulnerable position.
The writer has just gifted you with a sneak peek into the hours of toil, blood, sweat and tears — imperfections and all. Now it’s your turn to dig deep into your tactical toolbox: acknowledge their hard work, see the potential and do your best to specifically identify both strengths and weaknesses in the story. Because if the writer has come to you, they likely haven’t been to an editor or an agent yet. They know the manuscript isn’t ready; it isn’t perfect.
That doesn’t mean you need to tiptoe around problems or refrain from identifying issues. It just means you need to be as open, honest and kind as possible.
What is at the root of a manuscript presented during a critique session? A story that needs to be told. A voice that needs to be heard. Your responsibility is not to change either. Your responsibility is to help the writer uncover them both.
So what’s a helpful critique partner to do? How can you walk that tightrope of good advice and respectful commentary?
In this three-part series, we introduce you to the TACT method employed by the Children’s Book Writers of Los Angeles, then we arm you with 10 tips for giving a good critique and 8 tips for getting a good critique.
The TACT Method to A Productive Writing Critique
Follow these timeless tips for a TACTful approach to critique sessions. Who doesn’t love an acronym? Here’s what TACT means to us.
T = Terrific!
Share what you loved about the story: what worked well in the story arc, plus strengths in the plot, setting, character, pacing, etc.
A = Author Questions?
In the last few minutes of each critique, encourage the author to ask questions or to clarify the comments received.
C = Constructive Comments.
Try to deliver, in the politest way possible, comments that are specific and helpful. Point out specific areas in which the author could improve the story or develop a stronger writing style.
(But remember, only the author can know the right way to rewrite a scene. The critique partner’s responsibility is to act as a guide and identify scenes, characters, settings, story lines and syntax that don’t seem to work, not tell the writer how to fix them.)
T = Talent + Tenacity = Triumph!
Success is a mixture of talent and hard work. Encourage the author to keep on writing their stories, and tell them you’ll be there to cheer them on along their writing journey. Because every writer, from amateur to seasoned pro, experiences doubt, and every writer, from amateur to seasoned pro, needs a fan.
Want to Know More?
Visit us online at cbw-la.org, like our Facebook page, chat with us on Twitter.
Even better? If you’re in the L.A. area, join us for a workshop or critique session! In this digital age, we still believe there’s nothing quite like connecting with a real person in real life. Heck, we’ll even let you tease us and call us old-fashioned.
About the Author
Alana Garrigues is the Publications Director for CBW–LA and a freelance writer and editor.
