There are three types of
critiques the good, the bad, and the really ugly. All three can cripple a writer’s
creativity. We’ve all gotten those really ugly critiques, the kind that send us into
hiding. Maybe we swear off ever writing again, or at least critiquing. Then our muse comes
out to play and we are drawn to our peers for validation.
Affirmation is what we’re seeking after all. We want our fellow writers to acknowledge us as writers. Good writers. When that doesn’t happen, and often it’s in the perception, we’re left unwhole, crippled by words. Remember that childhood rhyme: “sticks and stones may break my bones, but words will never hurt me.” Well sometimes they do, but let them roll off like rocks. Develop a hard shell.
Come to the critique group confident in your work and chances are you’ll leave whole. Especially if it’s your first time, go armed with a highly polished piece of prose. Listen to the constructive criticism, but also listen for someone who thinks like you do. Their words will rise above the rest to make sense out of chaos. When you find your kindred spirit or spirits you’ll know. Never critique with anyone who would want to hurt you out of jealousy or spite. Never critique to compete--you’re the only one in the race. Never critique in a group that is operating above or below your ability.
A bad critique is often the result of a bad critiquer. This type of person thinks all writers should write like them, or at least what they want to read. The truth is we all have different tastes in reading. And some romance writers don’t even read romance. Just because the premise of your story is outside another persons interest doesn’t make it bad writing. Watch out for anyone who uses a lot of I’s or me’s in their critique. Statements such as “this doesn’t work for me” or “I wouldn’t do it that way” especially without any further explanation are frustrating and the trademarks of an amateur.
The exception being established groups where this kind of language becomes a form of short hand. A level of trust has already been established and the group knows what does and doesn’t work for each individual. In that case the critiquer may simply be letting the writer know they’re leaving it up to them to fix a problem, not. No one has the right to impose their will on you and they can only do it if you let them. If you can’t defend yourself against such a person run as fast as you can in the opposite direction.
Often groups impose a rule against defending your work. This should not include explaining your work. It helps to tell others what you’re trying to accomplish so they can help point you in the right direction. If you’re feeling defensive explore the reason or reasons why. Is it because the critiquer is wrong and you’re right? Well, of course you are. The writer always has the final word when it comes to their own work. And I’ll even go one step further against conventional wisdom in stating “two wrongs don’t make a right.” You could be right and everyone else could be wrong. Only you can decide.
Critique with like minds. Critique with writers targeting a similar market. Critique at your level and grow together. Because even the best intentions go awry, a good critique can be bad for you. The most valuable asset any writer has is their voice. If a writer isn’t careful a critique group can homogenize an individual voice into a collective one. The result is often a very polished writer who lacks that something special needed to get published.
Know the strengths and weaknesses of each person in the group and don’t let them undermine your writing. Determine which are beneficial to you and which hold you back. A grammar queen may not give the best advice on better dialogue. Unless of course your hero or heroine happens to be an English professor.
Never change anything based on the opinion of someone you don’t know. Be careful with contests. After all, you know absolutely noting about the judge. Something as simple as a different socio-economic background or the part of the country a person is from can color a critique. And you won’t know enough about them to guide your instincts.
New critiquers often want to join established groups. But a newbie may feel left out unless bonds have already somehow been formed. And each addition changes the dynamics of a group. Let your critique group know what you want from them. Let your voice come through loud and clear. Let your instincts rule.
Consider not critiquing. If it’s crippling critiques that hold you back, don’t do it. It’s more important to get through the first draft of your manuscript. In the end you may find you know more about your story and yourself as a writer which will give you the confidence to share your work.
Consider a mentor. If you happen into a situation where an experienced writer offers to look at your work, this can be an ideal relationship, though you should never force it.
Consider a critique partner. If all you need is feedback and someone to bounce ideas off from, why not find someone? There’s bound to be at least one other lost soul you can click with. There is no rule that states you have to critique. Aside from your own opinion, only the editor’s matters.
Rogenna’s first Harlequin Superromance/In Uniform, SEAL IT WITH A KISS is an April ‘99 release and is dedicated to all the critique group/partners she’s had over the years. When it comes to critiquing she’s experienced the good, the bad, and the really ugly and prefers a simple critique partnership, or two;)
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