Writing is a solitary act for most of us. And usually we are too close to what we’ve written to see what is working and what isn’t. This is where a critique can be powerful. My favorite critiques are from other writers. (This is all separate from an editorial letter from an agent or editor, which would be after critiques.)
I’ve been in a number of critique groups as I moved around the country. Critiques of my work have caught typos, pointed out awkward or confusing sentences, asked for more depth, inspired me, taught me, and corrected me. My critique partners have suggested where to tighten, brainstormed when I’m struggling with a particular issue, shared marketing news, cheered successes, discussed possible comp titles, and become faithful friends.
So, what elements make a good critique?
First, encouragement. It can be as simple as “I like this character” or “that was such a lovely phrase.” Or even, “I know you’ll figure this problem out.” I love this quote from Judith Martin aka Miss Manners: “When virtues are pointed out first, flaws seem less insurmountable.”
Second, kindness. A lot depends on how something is said. For example, “I’m not getting this” versus “This doesn’t make sense.” Margaret Chase Smith said, “Every human being is entitled to courtesy and consideration. Constructive criticism is not only to be expected but sought.”
Third, honesty. I’d much rather hear something isn’t working than be told polite lies that will become evident when others see my manuscript. “We need very strong ears to hear ourselves judged frankly, and because there are few who can endure frank criticism without being stung by it, those who venture to criticize us perform a remarkable act of friendship, for to undertake to wound or offend a man for his own good is to have a healthy love for him.” -Michel de Montaigne
Fourth, knowledge. Most of us don’t know everything about grammar and spelling or punctuation, but critiquers need to have some basics to catch others’ mistakes. My group also shares resources on various writing issues with each other.
Fifth, readers. Those who read in the category and genre you write will have a better understanding of what is working in the current market. “The quality of your reading (and the depth of your engagement with what you read) improves the quality of your thinking and subsequently, your writing.” -Lark Morrigan (And I’d add, your critiquing.)
Sixth, questions. Sometimes I learn more from questions than anything else. “Why is your character doing this?” “Where or when is this happening?” “What is your character’s motivation?” It makes me realize I haven’t made those things clear. Or, maybe I never thought their motivation—oops! One of my critiquers often asks, “What’s the heart of the story?” Such a good question. Audrey Chin says, “Critiquing has taught me that the best stories are still the ones that move hearts.”
Seventh, time. One of my critique partners always says she reads a manuscript first as a reader, then secondly as a writer. It takes time and attention to detail to notice a wrong word was used, or to think why a section isn’t working. My partners give me the why which helps me understand how to make changes. And, of course, there’s the time we spend together in person or via Zoom discussing manuscripts.
In conclusion, I’d like to share this thought from Duane Alan Hahn: “You are a glorious, shining sword and criticism is the whetstone. Do not run from the whetstone or you will become dull and useless. Stay sharp.”
Rejections are subjective. I know that. I only have to think about books I loved that a friend didn’t like or one they loved that I didn’t like. We all have our own tastes and even moods. But when our manuscript is rejected it often doesn’t feel subjective. We often feel as if we’ve failed.