I don’t buy the myth that if only I learn all there is to know about craft, that I will immediately write a bestseller and everyone will love my books. I don’t buy it at all. Because I’ve read bad books and I’ve read good books and in the end, sometimes the craft was awesome, and sometimes there wasn’t any to be found. People who make money offering writing classes want you to believe in the myth of craft. Playing the odds, you will probably make more money teaching people craft than crafting books yourself. And there’s less fear involved. Says the grandmaster wizard writing teacher, “I will teach you how to write, but I won’t write books myself. That’s too hard and scary.”
I sometimes think what I just wrote in the ranty-paragraph above.
Not sure I truly believe it or not. I do know that more important than craft (or talent, which I’ll talk about next month) is the will to write the book. The game is for people who do it, not people who study it.
Better to write a bad book than not write the book at all.
Do you know what I think of when I hear people talk about the myth of craft? I think of the scene in Dead Poet’s Society, where Mr. Keating uses the textbook to chart the perfect poem. If we maximize plot and minimize exposition, if we chart the character arc along the y-axis, then we will have the perfect book and you will make millions!
However, let me make myself perfectly clear. I had to learn how to tell a story and I had to learn about character arc. My writing can get overblown and I LOVE saying the same thing over and over again, but in a slightly different way. I can easily gloss over details and play havoc with POV. My choreography can be iffy.
In the ten years of conferences, critique groups, and craft books, I’ve learned a ton and sometimes that really helps me. Sometimes I don’t think it matters at all. Let me repeat that. I don’t think my ten years does me much good.
Do you know why?
Because art is subjective, and I might create a perfect work of art, and people might hate it. I have two artist friends, one draws pictures that are filled with craft, the lines, the composition, all of that. They are perfect. My other artist friends draws messy sketches in a surreal kind of way, and they are far from perfect, but they have an energy, a duenda, that shines through.
So in the end, the game is writing books. Sometimes those books will hit it big, and sometimes they won’t, and I don’t know why. People who claim they do are trying to sell you something. Because selling you the dream of a successful book will probably make them more money than writing a successful book.
I will say this…before I learned plot structure, I wrote books readers couldn’t read. It was sad. My books were bad, though I loved them so. Now, I know how to hook a reader and tell a story and readers can read my books. It’s happiness, right?
No. I have friends who liked my early work better. Yes, they liked my uncrafted books when they were more about my barbaric yawp than a finely-crafted story structure.
In the end, write books. Write books you love. Write books worthy of your time. Is learning the craft of writing a bad thing? It can be. If learning craft is blocking you from the act of writing, then it is evil. Don’t use it as excuse.
As human beings, we learn in different ways. I’m a learn-along-the-way type of guy, so I wrote a book, learned a bunch, wrote the next book, learned a bunch, and so on. Other people study, study, study, and then write books. It’s all good.
I met a Colorado writer who never went to a conference, never read a how-to book, never went to a critique group. And he is far more successful than me.
There are no rules, people.
People can’t read books you don’t write. So write books.
I credit the marvelous process of critique with helping me get published, and continue to be published. And just as my fabulous CPs help me, I help them. There’s a compelling reason to give our best efforts with every critique: the better critiquers we are, the better writers we become.
Many of us have suffered from or heard about nightmare critiques with back-handed comments and thinly veiled insults, and we want to make sure our critiques are both encouraging and helpful. One way to ensure this is to avoid excessive compliments and vague comments.
Here are some critique comments I’ve read over the years in critique groups, along with comments about how to make them more useful to your CPs.
Loved it!! This will trigger a sense of relief from the submitting writer, but not much more. Was it the opening that was strong, or the dialogue? Or just the hunky hero? Include detail so the writer knows what, specifically, worked.
Couldn’t stop turning the pages! One hopes that means the tension remained high throughout, with enough drama that the reader was anxious to know what happened next – instead of the possibility that you were just in a hurry to finish the critique and get on with your own writing.
This is perfect as is. I wouldn’t change a thing. We all want to receive a critique like this! When backed up by specifics, this is a gem of a critique I’d copy, put in 60 point Times Roman, bold, and print out for the front of my computer. Without accompanying comments, though, I’d still wonder if some parts might need work and the critiquer was just being generous. But then, we writers have been known to be neurotic.
I don’t like your protagonist. This is crushing for a writer to receive. Though it may be true, it’s brutal. Being writers, we can find gentler ways to say this. One bit of wisdom I’ve learned over years of critique is: “Don’t send a critique if you’re short for time.” Whenever I have, I realize I’m more likely to be abrupt, and when abrupt, a sense of uncaring and overly critical-sounding comments erupt that I later regret when I re-read it at a time I’m *not* so rushed. As a critiquer, you’re walking in a field of priceless human emotions. Even multi-published authors hardened by years of rejections and reviews can be hurt by abrupt comments. Always take your time. Better to be a little late with the critique than to cause unintended harm.
Characters aren’t convincing. Don’t shirk from giving or receiving this comment. This is a gem of an observation, so useful -- if accompanied by specifics. Is the character the ruthless head of an international corporation yet continually shown in scenes as indecisive or unaware of his industry’s jargon? Or perhaps the character is a prostitute but acts naive in this particular excerpt.
I hope you love your critique partners as much as I love mine, and I wish you many positive comments in your future critiques. My next blog will offer more insights on your CPs’ comments.
“Without great solitude, no serious work is possible.” ~Picasso
When I was a kid growing up on a cattle ranch in the panhandle of Texas, I had a tumbleweed for a friend. Seriously. Miles from the nearest neighbors and school, our home was surrounded by thousands of acres of natural buffalo grass, cattle, and yes—weeds. To keep my tumbleweed from blowing away in the never-ending wind that swept the plains, I tied it to our back porch with a piece of yarn.
My mother negotiated a deal with the public librarian in our closest town: we could check out all the books we wanted as long as we brought them back each month when we made the trek into town for groceries. So, while friends were sparse during those days, my inner life became rich and fanciful. (How else could a child enjoy the companionship of a tumbleweed?) My parents and teachers often called me to task for daydreaming. Little did they know that I was a young writer in training.
Writing is a lonely business, but that loneliness can be countered with the right friends. (And many of these friends should be people.) Find fans—or at least one—who love what you write; mine are my adult daughters. Fans don’t have to be writers, but it’s helpful if they love to read, and it’s best if they like to read in your genre. The fan role is to encourage you along the way, cheering you on when you want to give up. They read your work, tell you they love it, and then answer your specific questions about characters, plot, and scenes to tell you how they think it could be improved. After a fruitful visit with these friends, you need to return to the solitude of your writing space and revise.
Then take your work to another group of valuable friends: your critique group. This group of friends must be made up of writers. They will give honest feedback on the work; pick apart grammar, plot, and character development; scribble “show, don’t tell” in the margins; and sometimes leave you wondering why you ever attempted to write in the first place. But what’s most important is that these friends will help you improve your writing.
Showing your work to your friends requires that you have written something. It means we writers need to shut out our friends and abandon our tumbleweeds on the porch so we can enter the solitude we need to complete the serious work referred to by Picasso. Most of us don’t have the luxury of an office or studio to write in. We eke out a creative space in the back bedroom, den, or basement. Some people have an extraordinary power of concentration and can write in coffee shops or while sitting with family in front of the television. I once saw a seasoned writer sit in the hallway at a writing conference for hours, surrounded by people, tapping away at a keyboard. (No, I didn’t stay to watch him; I merely observed him every time I came out of a session.) I admire that type of focus, but I don’t have it. I write in the back bedroom at a desk surrounded by photos of friends and family, motivational greeting cards, and inspirational sculpture and posters. I light candles made by my daughter before beginning my writing sessions.
So it’s okay to embrace your tumbleweed, but beware the prickles. It can be fun—dare I say great fun—for writers to mingle with friends in coffee shops, in online chat rooms, or on social media talking about their characters and ideas for all the wonderful books they’re going to write. But at the end of the day—or better yet for me, at the beginning—we must write! We must be alone to create our masterpiece. Fight for your own space within the house; hang up that sign that reads, “Do not enter—murder and mayhem reign behind this door.” Balance friends and fun with the solitude of work, and do the work until you finish. You’ll be glad you did.
Who are your writing friends? Where is your creative space, and why is it perfect for you?
Margaret Mizushima is the author of Killing Trail: A Timber Creek K-9 Mystery to be released December 8, 2015 by Crooked Lane Books. After earning a master’s degree in speech pathology, Margaret practiced in a hospital and her own rehabilitation agency, and now she assists her husband with their veterinary clinic and Angus cattle herd. Her short story “Hay Hook” was published in the 2014 Rocky Mountain Fiction Writers anthology Crossing Colfax. She enjoys reading and hiking and lives in Colorado on a small farm where she and her husband raised two daughters and a multitude of animals. She can be found on Facebook/AuthorMargaretMizushima, on Twitter @margmizu, and on her website.
So it’s happened. You brought pages to your critique group, it didn’t go well, and you exploded, making an ass of yourself.
You know what RMFW’s own Mario Acevedo says? He says the only appropriate response to a critique is “thank you.” And in our group, he says thank you a lot. Because Mario insists there is only one rule for writers and that is to be gracious.
Well, I try to be gracious and say thank you, but sometimes I crack—out spills my insecurity, hatred, and self-loathing. Darn, I hate it when that happens.
I always print out the pages I submitted and jot notes on them. If I’m writing comments, I’m less mouth, and that’s always a good thing.
But even now, after nearly a decade of being critiqued, I still have issues sometimes, and I find myself drafting the post-critique group apology email. I figured all of RMFW might benefit if I gave them a template to use. So here is it is. I added some parenthetical suggestions.
Dear __________________ (Critique Group, Critique Partner, Writing Buddy, or You Bunch of Illiterate Jackals),
I’m writing to apology for last night’s ___________ (outburst, chainsaw massacre, uncontrollable sobbing, sarcastic gales of laughter, shameless name-calling).
As you know, my life has been very stressful lately with _______________________ (wife/husband problems, divorce, death of a close relative, my son/daughter, day job, frenemy drama, buttloads of rejection, crushing self-doubt). Still, that doesn’t excuse my behavior.
I really appreciate all the time and effort you put into your critiques, and I know sometimes I can be _________ (sensitive, combative, feloniously violent) about my current work in progress. I just ________ (love it, hate it, want to burn it, want to win a Pulitzer) so much.
Writing _________________ (fantasy, science fiction, romance, mystery, high literary) novels is a challenge, and I recognize that I have issues with ____________________ (POV, verb tense, long passages of exposition that expose the inner workings of the character’s mind through tons of back story and internal dialogue, cheap hooks, histrionic characters, facile plot points, unabashed genius), but I’m trying to improve.
Next time, I will try to be less ______________ (criminally insane, judgmental, defensive, offensive, vomit-y, loud, weepy) and more ___________________ (socially-acceptable crazy, understanding, offensive, defensive, iron-stomached, passive aggressive, even tempered).
Thanks again for all your time and for including me the group.
Yours ______________ (truly, in Christ, sarcastically, literally, bookishly, in hellish pain),
_________________ (name, pen-name, Aaron Michael Ritchey, socially security number)
So there you have it. The next time you need to apologize to your critique group, you now have the perfect template for your apology letter.
On a more serious note, if your critique is bashing you week after week, and if it’s slowly killing you, it might be time to either find another critique group or look for edits by other avenues. We have a lot of options—beta readers, freelance editors, mothers, lion tamers, et cetera.
For me, the perfect critique is one that makes me excited to revise, which is why I love my current critique group. Someone says something, and suddenly the spark of the story explodes in my mind, and I can’t wait to incorporate the changes.
If someone says something I completely disagree with, or if someone triggers me, I don’t argue, I don’t scream expletives (most of the time), I try and simply nod and thank them.
Because in the end, if you have people reading your stuff and offering suggestions, you need to thank them. They could be doing a bunch of other stuff with their time, and yet, they are using their precious minutes to try and improve your work.
“Anything worth doing is worth doing poorly until you learn to do it well.” ~Zig Zigler
It’s been weeks since the Colorado Gold Conference. You know how it is immediately after conference … you’re enthused, recharged, ready to move on with The Plan and move toward success (or possibly, continued success). Or … you’re comparing yourself to John or Jane Writer, who has achieved the latest accolades, who writes the most compelling characters and the best plot twists ever, who has a starred review in PW, not to mention a six-figure contract. Ahhh. To be the current darling of publishing and the Awards circuits. Wouldn’t that be something?
I’m pretty sure I’m not the only one who has felt this way a month or so after conference. When the job that pays bills sucks up all my time and energy, my motivation begins to slip. That vow to write six pages a day slips to six pages a week … or a month. Those solutions that were so clear for how to solve a plot or character problem when I was with my writer friends (translation – MY herd of other little sea horses [thank you, Susan Spann!]) begins to fade. Instead of remembering that an editor asked to see a full manuscript, I’m focused on the nit-picky and negative things that other person in my reading workshop said about my work … and I’m tempted by chocolate instead of writing. What is a writer to do?
The short answer is this: build a system of accountability and tribe building that works for you. In short, find your herd of sea horses and the part of the reef that best suits your particular style of writing.
Get together with a small group of writers on some regular schedule. Thanks to the internet, you can have contact even if it’s not a face-to-face critique group. You can use plain old email, not to mention Skype or Face Time. Granted, it may not be quite the same as being in the same room, but it’s close … and you can do it in PJs! In short, you don’t have to be in Denver to find your herd of like-minded writers.
If critique works for you, find critique partners. If your need is to set aside a certain time every day or week and write with others, then find partners who are willing to do that with you. If being accountable to someone that you’ve met your writing goals this week, find partners for that.
If an editor or agent has asked to see your work, send it! An editor once told me that fewer than 20% of the writers she asked material from sent it. Can you imagine that? Are you one of the 20% or the 80%? To my way of thinking, the odds of the editor liking my project just went up.
If work needs to be done on the project before you can send it, set a date for when you’re doing to send it, then parse the tasks between now and that date into manageable pieces, and get to work. I think setting a date is similar to giving a sick sea horse a name—there’s power in the commitment represented. The date … and the name … make things real. If you’re married, you made the commitment, set a date, and went to work to make it happen. The same thing applies here.
I grew up with the mantra instilled in me that “anything work doing is worth doing well.” What is easy to forget is this: before doing something well, I’m probably going to do it badly. This is where having a support system for my writer’s life becomes even more important—my herd of other writers who hang around in the part of the reef that I call home. Who are there to applaud my successes (growth in skills, finaling in contests, making a sale), chase away the predators (worry and rejection), and help me see where the best food can be found (story craft and submission markets).
RMFW has a wonderful discussion group (if you don’t belong, send a request (email@example.com) and ask to join), where you can put out the call to find others of like mind … or respond to others who have put out a call that appeals to you. I promise, a big reef though RMFW may be, your part of the reef is also home to a group of writers who want to be part of your herd.
Happy writing, everyone!
… Sharon Mignerey
p.s. If you’re wondering about the references to sea horses, order the CD for Susan Spann’s wonderful Writer-of-the-Year talk by calling Joyco Multimedia at 720-541-7905.
Sharon Mignerey has been a member of Rocky Mountain Fiction Writers since 1984 and says her successes would not have come without the support of her friends and fellow writers in the group. She’s the author of eleven books, and she’s currently polishing two submissions that have been requested by editors she met at the most recent Colorado Gold Conference.
Several years ago when I was attending critique a lively discussion was prompted by one of the members asking the group if we thought of ourselves as writers or authors. I was surprised by the fervor some exhibited in response to that question. The person who’d brought it up was the group’s constant devil’s advocate, a young man whose demeanor was firmly categorical, his criticism blunt and sometimes unkind. When a few said they were authors, the young man aggressively responded that authors were published writers. There was disagreement on that point, and the young man countered with, “Well, raise your hand if you’re a published writer.” (I suppose one could argue that asking such a thing of folks whose singular ambition is to be published is a kind of shaming; if your hand doesn’t go up, well shame on you.) None of us had been published at that time, and no hands were raised. I gave a passing thought about the uselessness of labels and concluded the young man was as usual just giving another performance, just letting us know his ego was stoked that night. Who knows? Maybe that young man was just as frustrated as the rest of us; none of us had yet to publish our Great American Novel, and, by God, when would somebody see the worth of our talent?
I didn’t stay with the face-to-face critique group for very long. Even though they were good people who shared my passions—to write and become published—I just had no talent for it. I was lousy at it. Who was I to tell another writer how they could improve their work? Hell, I had enough problems trying to figure out my own. The criticism? I took it well except when I didn’t. Besides that I found I was devoting more time preparing for critique than actually writing anything I was happy with.
After I’d left face-to-face critique, I joined an online group. We had three members, one of whom wrote from an assisted care facility way out on the eastern plains of Colorado. She was a delight. Her stories were as homey as I imagined she was. I don’t know where the other one lived, but from her writing I got the impression she was a Highlands Ranch soccer mom who had an interest in Biblical lore and murder mysteries which formed the basis of her storytelling. I believe it was the soccer mom who left first, and I left after that because, as I said, I was spending too much time on it. I did regret leaving my buddy out there on those pancake-flat plains to fend for herself. Though, if memory serves, the critique chair promised to hook her up with another online group. I hope that happened. Her stories were precious and they reminded me of Kent Haruf’s gems—clean construction and salt of the earth.
I’ve had some success over the years since leaving critique. My first published novel appeared in 2010. (I don’t count the novel I published in 2005. It was the product of a vanity press for which I paid a goodly sum. It was not ready for eyes other than mine to see. I’m not ashamed of it, but just a wee bit embarrassed that I had thought it was ready to see the light of day when now I know it clearly wasn’t. I suspect if I’d been attending critique at the time, and had let others see what I was up to, I probably would have heeded the criticism and polished it a lot more than I had.) The 2010 novel was published by a New York publisher. No, not in Manhattan but Albion, six hours from the Big Apple and just off the shores of Lake Ontario. Small presses do abound, and I hooked up with one of them. Since 2010 three more of my novels have been published, as well as several novellas and short stories that have appeared in anthologies and some as stand-alone. I’ve not delved much into self-publishing and, truth be told, prefer to let someone else handle that part of the process. And, like every other writer I know, I’m working on several WIPs, writing every day, holed up in my writing room where the rest of the world knows to knock before entering.
I don’t think I’ll ever return to critique. I know I’d still be lousy at it. But, as I write this, I know there are those whose dreams have a much better chance of being fulfilled by attending critique than by not bothering with it. Not only for the constructive criticism that is essential to the process, but from the camaraderie as well. Something like everybody being in the same boat, working their oars, and all searching for landfall in the distance. That’s fine, some may say, but you didn’t stay with it. You gave up the ship. Well, I’m reminded of C.J. Box’s—former RMFW Writer of the Year and a New York Times Bestseller—response about his experience with critique: He said, and I paraphrase, “It just wasn’t for me.”
The point of all this is that we’re all different. I, for example, am a solitary writer with a quirk about letting anyone read my stuff before I send it off to a publisher. Others write good stuff in Starbucks, share it with fifteen friends, their critique partners, their Aunt Sybil in Paonia, and their Uncle Ted in Tulsa and then send it off for evaluation and hopefully a contract. We all do what we do because, yes, we are who we are. We can call ourselves writers or authors or whatever the hell we want to. I suppose what we can’t do, though, and I know you all share this sentiment, is give it up.
I’ve been perfecting my recipe for Coq au Vin for years. I use the happiest, most humanely raised poultry, a decent French Burgundy, organic farm-fresh veggies, and my own secret blend of herbs. The other night I prepared this special dish for my critique group—we always eat dinner before discussing our writing—and because my critique partner Aaron is a vegan, I also prepared an eggplant Wellington just for him.
As I proudly placed the food on the table, alongside a nice Cabernet, I asked the group, “So, what do you think?”
The guests tasted and slurped and savored and pondered, then they let me know what they thought of the dishes I’d worked so hard on.
Wine, not whine.
“It’s pretty good, but I think there’s a little too much salt,” Morgen commented.
“Yeah,” Todd said. “Too much salt, not enough garlic. And the carrots are too crunchy.”
“I don’t love the wine in the dish,” Giles said. “It doesn’t seem to go with the wine we’re drinking. I would have made a different choice on one or the other.”
“I like the wine,” Aaron said. “But my vegan Wellington doesn’t relate at all to the Coq au Vin. It would have been nicer if there were at least some parallel to the dish the rest of you are eating. Besides, I personally don’t enjoy eggplant.”
“Of all the nerve!” you may be thinking. “These guests are so rude. Chris’ feelings must be hurt after putting so much time, effort and love into creating that meal. And that Aaron—what an ingrate! He shouldn’t complain, especially after she went to all the trouble to make a vegan dish just for him.”
Hold your horses and your happy chickens.
This is a happy chicken. He has not been turned into dinner because the prior story was all made up.
This is just an imaginary dinner party, so don’t be too hard on my friends. The real Aaron would never say those things about a real meal I cooked for him, but he might say something like that about a story I ask him to critique. I can almost hear him:
“I like the voice [wine]. But the subplot [vegan Wellington] doesn’t relate thematically to the main plot [Coq au Vin], and I personally don’t like ‘fish out of water’ stories [eggplant].”
“Ah,” you may be saying. “I see the parallel now.”
Yes, this dinner party conversation is an analogy for CRITIQUE.
Now that you know that, let’s go back to the dinner party and change things up a little. Rather than simply asking “What do you think?” when I put the food on the table, let’s say instead I explained things this way: “I’m working on some recipes I’m going to cook for the producers of the Food Network, and they’re going to decide—based on this one meal—whether or not to give me my own cooking show. I need this meal to be perfect, so please evaluate these dishes as critically as possible.”
Would the same comments from my dinner guests feel any different to you after that?
“Sure!” I imagine you saying. “Absolutely.”
Knowing the context of the situation—that a career milestone hinged on the outcome of this event, and that I really wanted critical feedback—makes all the difference, right? The criticism at the dinner table doesn’t seem so harsh once you know that it was my goal to make the dinner the best it could be and that I was inviting criticism so I could improve.
Although we writers communicate for a living, we’re not always clear with ourselves and with others about the nature of the feedback we’re seeking when we offer up our work with a question like “What do you think?”
In my fictional dinner party scenario, without knowing the backstory about the Food Network’s interest in me (which is also sadly totally fictional), there’s no way of knowing if I’m asking for critical feedback or simply looking for a pat on the back.
Sometimes all we want is for someone to say, “You look nice,” not “Well, your butt does look a little fat in those pants.”
Sometimes we want constructive criticism, and sometimes we just want a little praise. Both are fine when it comes to cooking, to writing, and to everything else for that matter. The important thing is to be cognizant of which we’re seeking when we ask for feedback, and state our requests with a bit more specificity than the simple “What do you think?” By being clear and explicit with ourselves—and with others—about what kind of feedback we’re seeking, it can save us from a whole lot of heartache.
When it comes to writing, if you show your work to your best friend or a family member and you aren’t looking for critique, be sure to say that. But when you submit your work to a critique group, be prepared for criticism. That’s because whether you verbalize the request for criticism or not, the job of a critique group is to LOOK FOR THINGS TO CRITICIZE so that you can learn from it and improve. It would be a waste of time to belong to a critique group that said nothing but “This is awesome,” wouldn’t it?
The moral of this story is, when you submit your work to your critique partners and ask “What do you think?” be aware that what you’re really saying is: “Find problems. Poke holes in it. This needs to be perfect so please evaluate as critically as possible.” For the sake of your morale, try to prepare yourself emotionally for responses like “there’s not enough salt” or “the Wellington doesn’t relate to the theme of the meal.”
This is good. This is what we want. We like the color red.
Remember: we want critiquers to be critical.
Even when you’re expecting criticism, it can still sting to have your precious words criticized. I find that it helps to remember that we want critiquers to be critical. Recently I had to remind myself of this as I prepared to send my debut novel, Seeds: a post-apocalyptic adventure to my publisher. My critique partners dealt out some heavy criticism, but I set aside my feelings, remembering I’d asked for tough feedback. Even though it was still a little painful on an emotional level to hear that my story wasn’t perfect, on an intellectual level I viewed their critiques as food for thought. I accepted the criticism and advice that resonated with me and revised my story accordingly (a process I repeated when I received feedback from my editor). In the end, my story was greatly improved as a result of all the criticism it received, and I believe it now has the exact right amount of salt, if I do say so myself.
This is not to say that critics (and dinner guests) shouldn’t be complimentary and kind and constructive with their criticism. Of course they should be.
This is to say that we—the cooks and writers—should be aware of what kind of feedback we’re looking for and prepared as much as possible to receive that feedback. If we’re clear with others about what we want, and we’re clear with ourselves about what to expect, there will be a lot fewer hurt feelings, and a lot less vegan Wellington hurled at our friends and critique partners.
So at the next meeting of your critique group, I encourage you to set ego and emotion aside and prepare yourself to receive criticism with an open mind. In fact, welcome the criticism! Because that’s what we’re seeking by being part of a critique group, right? Consider the criticism food for thought. Let it digest, then use it to make your stories better. And bring on the wine, not the whine!
So I’ve been in critique groups for nine years now. That’s a whole lot of words being read by other people. You want the math? Oh yes, I know you do.
So ten pages a week, times fifty-two ‘cause there are fifty-two weeks in a year, so that’s 520 pages a year for nine years. For a grand total of 4680 pages. If a book is around three hundred pages, that’s 15.6 books. Roughly. Break that into words, about three thousand words every week, times fifty-two, times nine, and that’s 1,404,000 words critiqued.
I won’t do hours.
So yeah. I’ve been around the block and back. Most of the time the critiques are good, sometimes they are fun, and sometimes, sometimes, the critiques have claws that rip my poor wittle heart to shreds.
A bad critique attacks the very heart of my writing, and I’m not sure how productive that is. But it happens. It’s part of the deal. A good critique seeks to improve or offers a different perspective. A bad critique is destructive. And to make myself perfectly clear, sometimes the bad critique comes from someone who innocently is just offering their opinion. A bad critique can fall out of the sky like hail. Hail doesn’t hate you. It just falls. Sabes?
How do I handle things when good critiques go bad?
I don’t sleep. I don’t eat. I sharpen knives and listen to Cannibal Corpse. I plot murder, rebellion, revolution, anarchy in the U.K. I draft long emails defending my work, defending the vicious act of writing words and its difficulty, defending the very purpose of my soul on earth. I print out the emails and eat them, tearing one page off at a time and swallowing them down with cold, cold black coffee from last Thursday.
Or I write letters (not emails) with blood-filled pens on sheets of paper made from human skin. I attack the critique, wanting them to know just how much I DON’T CARE ABOUT THEIR USELESS, STUPID, PEDANTIC OPINIONS. Who are they to question me and my work? What do they know? If they’re so smart how come they’re not New York Times bestsellers? I eat those letters as well, but I use gutter water to wash them down.
I rant. I shake my fists at heaven (literally). I weep.
Alone. So alone.
So that’s what I do. I don’t recommend it, but you can do all those things, just don’t carry out your wicked plans of murder, rebellion, revolution, and the U.K. doesn’t need your anarchy, thank you very much.
So I do that for awhile. I used to do it for weeks on end. Or months. Okay, 2009 was really bad. But I learn. It’s a slow process, me learning, but I learn.
Last time I got a bad critique I spent a bad night not sleeping and doing all the things I said. The next day, I journaled about the experience and got a good understanding of my part.
Because yes, when I’m upset, when my heart is shredded, I have a part. The experienced triggered something in me, and it might have much to do with what actually happened. If I didn’t care about the bad critique, I wouldn’t care. Why do I care? That’s what I have to find out.
Through the inventory process, I find out where I was selfish, dishonest, self-seeking, and afraid. Generally it’s all four. And yeah, when I’m hurt, it’s all about me and my ego.
After getting a good understanding of why I’m weeping, I then find people to talk to about the experience. Sometimes it’s just one person, but if it’s bad, I find two: one normal person and a writer (who is not normal).
We talk it through because you know what? Humans heal through their mouths. We talk to each other and magic happens.
So I figure out why the bad critique hurt me, I share the secret, and I get free.
And I keep writing, I keep submitting, and I keep editing. Because bad critiques, bad reviews, bad deals, are part of the writing experience. You want the whole buffet, yeah?
Well, there’s always gonna be crap sandwiches in the buffet, but don’t load up your plate with ‘em. Because like I said at the start, most of the time the critique experience makes me excited to revise! That’s what you want. That’s the idea.
And if your critique group is mostly serving you crap sandwiches, week after week, it’s time to find another critique group.
Yes, I’m piggy-backing on Mary Gillgannon’s excellent Friday post called “Your Book…Or Your Editor’s?" She raised some important points about picking your battles and keeping an open mind about suggested editorial changes.
Going into a book contract without a little flexibility along with confidence in your story and characters is a risky business. You can’t work well with your publisher’s editors unless you have both.
As the member of a critique group, or even with a single critique partner, you may face similar challenges as you submit chapters to your group for review. Getting through the first round of critiques, especially if you’re submitting first draft quality, is not so bad. You wouldn’t be part of a critiquing arrangement unless you’re open to constructive criticism, suggestions, and even an occasional round of laughter at a huge mistake. Right?
By the end of the first draft, you will have a bunch of character notes, corrections (some big, some nit-picky), suggestions, alternate plot ideas, and timeline errors that must be considered during the revision process.
Whether you revise as you go, or put it all together after the first draft is written, there is now a big decision to make. Will you submit revised chapters to the group?
My own process is to submit basic first draft quality writing to my group because I want them to have free rein in picking on anything and everything.
If I do decide to submit revised chapters, it’s usually because I’ve made big changes. And if I only want “big picture” observations, I say so. I also tend to discourage line-by-line editing because it’s a waste of the critique member’s time. I go over my manuscripts so many times after the critique group’s contributions, and I make so many changes, that most outside editing is lost in the shuffle anyway.
There are risks involved when you submit revisions for critique, so it’s important to:
1. Define your novel’s genre. There are structural differences for romance, for traditional mystery, for thriller, for horror, for YA.
2. Know if your novel is plot-driven or character-driven.
3. Understand your novel’s theme or message.
4. Decide if you’re open to big changes to plot or character during the next revision.
5. Tell your critique group ahead of time what you want…and what you don’t want.
If you take revised work back to your group but leave the options open, you may receive suggestions for major plot changes, deleting or changing characters, or using structural techniques that don’t really apply to your genre.
What happens then?
You might have a crisis of confidence and feel your novel is absolute garbage.
And start making random changes to absorb all those great suggestions.
And end up with a mess.
More experienced writers tend to work through this stage with their critique groups and learn when to implement and when to reject suggestions. Writers new to the craft, or just new to critique group dynamics, may need to go through a learning phase before they understand that suggestions are just suggestions, like the results of a brainstorming session.
If you know and understand what you’re writing and why, you’ll learn to trust your instincts when absorbing feedback from a critique group or critique partner. And you’ll learn to guide your critique partners before they examine your submission so they don't waste time on comments you’ll only ignore.
There’s a piece of writing wisdom that says to hone your craft, you must first write one million words. Back in my early years, I’d read somewhere that it takes, on average, twelve years from beginning writer to published author. If you’re writing every day, those might amount to roughly the same. If that’s the case, I’m a below average writer. I don’t remember when I became serious about writing but I started slowly, articles, essays, short stories, before I launched into novels.
I took a few years off here and there for life crises, and eventually published my first novel in 2010. Although I loved that book—as it lives in my head—I’m afraid it’s a First Pancake affair.
You know about the first pancake. For some reason, it never turns out right. Parts of it burn and others are doughy. That’s the one the dog gets. But after that, they rise up to a golden brown, all fluffy and perfect. I’ve learned not to get impatient and gobble that first one. I’m better off to save belly space for the really good pancakes that follow.
I didn’t apply the same wisdom to my First Pancake book. I worked on that poor story for far too long. I knew the characters from their DNA out, why they acted as they did, nearly every day of their childhood. I understood the issues at stake, the technology, the history. I researched and read, dreamed and created. Tore down, rewrote, revised, regurgitated.
My critique groups saw so many versions they grew to hate it. Oh, they never said so, but I knew their inner groaning when I’d cheerfully announce, “I fixed it!” and handed out pages. I queried agents in the hundreds. And in between rejections, I’d rewrite according to the last skill I learned or the latest critique.
I buried myself in that book, refusing to give it up. By the time I finally got a nano-press to accept it, I couldn’t tell you what I’d translated onto the page and what only survived in my head. It was a goulash of partially rewritten scenes, action changed to meet so many others’ ideas, styles and timelines. When I started writing the book, data was stored on CDs and used in desktop computers. When I published it, thumb drives and cell phones were common.
I probably shouldn’t have turned it out for public consumption but publishing seemed the only way for me to let it go and move on.
I can’t say the next book was perfect, but it did rise and cook evenly all the way through. And to follow this analogy to the ridiculous, every book since then has been full of better quality ingredients that just weren’t available for that first pancake. And now I’m thinking of clever ways to incorporate butter and syrup metaphors, layering pancake on pancake to create a towering stack of literature, but I’ll go ahead and give you all a break.
I’ve got my rights back to that book. And I still believe in the story, even after the disaster execution. Every now and then, I get the notion I should pull it out and with my new skills, rework it. Again. The premise is great. The concept is still valid.
So far, my wiser side has prevailed. (That and my friends and family get a rabid gleam in their eyes when I mention it.) I’ll let the dog enjoy that First Pancake book and happily introduce the third book in the stack called the Nora Abbott Mystery Series, Tattered Legacy.
It’s set in the iconic red rocks of Moab, UT. Working to solve the murder of her best friend, Nora uncovers an unlikely intersection of ancient Hopi legends, a secret polygamist sect and one of the world’s richest men. Will Nora put all the pieces together in time to prevent disaster?
I have a friend who declares his oldest step-child is a Pancake Child. What is a Pancake in your life?
Shannon Baker is the author of the Nora Abbott mystery series from Midnight Ink. A fast-paced mix of Hopi Indian mysticism, environmental issues, and murder. Shannon is an itinerant writer, which is a nice way of saying she’s confused. She never knows what time zone she’s in, Timbuck-Three, Nebraska, or Denver, or Tucson. Nora Abbott has picked up that location schizophrenia and travels from Flagstaff in Tainted Mountain, to Boulder in Broken Trust and then to Moab in Tattered Legacy. Shannon is proud to have been chosen Rocky Mountain Fiction Writers’ 2014 Writer of the Year. Visit Shannon at her website.
While Tattered Legacy is available from your favorite online or bookstore, if you’d like to support indie bookstores, you’re welcome to contact Who Else Books at Broadway Book Mall. Ron and Nina are the best! And they might have a signed copy to send.