Writing Tips – Criticism
A few weeks ago we discussed our first Writing Tip – Editing. Here is the link to that post if you missed it. Writing Tips – Editing This week we go directly to your heart again and make an issue of criticism; it can be misunderstood.
We believe there are three basic types: Good, bad and indifferent. Let's get the most ambiguous out of the way.
Indifferent criticism. It is the query that came back, "…not for us." or, "Sorry, we can't use this." It is the type which comes from anyone and tells you nothing. The reader found nothing terribly wrong; they just didn't like the story. Most authors wonder why they are hearing such news in the first place. It does seem pointless to have an indifferent opinion about a book and then state that fact.
However, indifferent criticism tells an author many things. The book obviously needs 'general' work; higher highs, lower lows, scarier frights, perhaps even reworking some characters to bring them more to life. Ambiguous criticism indicates the work itself is ambiguous. A story should create some reaction.
Take heart! We are talking about a story that has some room to grow. If the reader cannot focus on the elements they did not like, then overall, the work may be in good shape. But it might be best to admit that it is really a second or third draft form. It would be a mistake to only think one reader missed the point. Authors miss a lot of points too, and they are closer than anyone to their text.
Bad (unhelpful) criticism. There are so many forms of this reaction that it could be a list of several pages. Let's focus on the two most important to helping a writer become a published author. Criticism that warns the whole story is failing—and criticism that tells an author the wrong thing about the text.
If you have just been told the whole story is bad, requesting a second opinion is wise. Be prepared though, it is your job to listen to your reader. Your ego and your own pride will be your worst enemies, if you allow them. Readers who take time to point out specific elements have done a good portion of the authors work for them. After the author has determined whether it is a real critique of the text or just a poor opinion of the manuscript, that writer must get to work. They should investigate thoroughly, every comment the reader offered.
However, that is only the beginning step. In a well-crafted book, the threads lead in many directions. Follow them all and don't shirk deeper study of the criticism itself. Major flaws lead to smaller ones, etc. All of this effort takes time. Whether it is a friend, or a publisher/agent who has come back with comments, there are few weak books which can be repaired in a month of evenings and spare time. This type of work requires thought and always involves an editor. They should have caught at least some of the same points.
Authors should have a great deal of time invested anyway, after they typed the wonderful words, "The End". But, as we have said: the criticism is bad, the book doesn't work and there are lots of reasons. What if some of those reasons are incorrect? How in the world does a writer see through that type of comment?
If you are getting opposing criticism: too much romance!; too little romance! or some such comments, then you are only hearing an opinion. Sometimes, opinion can be ignored, even if it is a bad opinion. Other clues will usually surface in the comments, telling the author that most of the criticism is subjective. Key phrases might be, "This isn't usually my type of book…" or, "I wish the author had…." An author should think twice about beginning some rewrites based on those opinions. Beware the reader who would be your ghost writer. It's not their book, they can write one of their own.
Actually, an author should hold off on any rewrites that feel like they are remaking the story. Criticism should be helpful in improving what is already there. Only bad criticism will have the author making an entirely new tale. The very worst criticism to act upon is criticism the author does not understand. If you do not grasp how the changes will improve the story, or feel that too much of your creation will be lost, then do nothing. Ask for more opinions, perhaps from a beta reader—and tell them your concern up front. You don't want to invest a great deal of time in rewrites to only hear a publisher tell you the story doesn't work. They are not likely to offer to read an older version, even if you beg, swearing that it was better.
Good criticism. The very type of opinion an author must embrace. It will come from people who understand the story, who understand the author's creation. Those readers will have comments which make sense. They will offer ideas that help, and most importantly, they will give advice that improves the next reader's experience. The very best criticism will be about specific, even subtle things. They will be the sort of remarks that turn on little lights in an author's head. Ping! Yes, that needs to be fixed.
Good criticism might also tell you things you do not care to hear. Don't turn away from those comments only because you don't like them. If they expose a poor writing habit, or a poorly executed story element, please learn from them. As your writing begins to improve, the criticism will turn to praise, and mere comments will become good reviews.
Next time, we discuss your willingness to act on criticism, since your attitude about change can affect the balance between publication and rejection—even after a publisher had indicated they are interested in your book.
