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Analyzing Critiques Few writers have the critiquing skill or detachment to analyze the
problems in their own work—at least within the first few weeks after a book is
finished. Several have critique groups or readers they turn to for help.
Finding a good reader is valuable for two reasons: It provides a different
perspective of trouble spots, and it gives the author some breathing room. But critiques are
highly subjective, and, like everything else in writing, must be evaluated
objectively in order to make the decisions that are best for the book. In
analyzing a critique, there are several things to keep in mind. Consider the source: 1) Is this person
a good critic? Do you trust their opinion? When the two of you talk about
books or stories, do you generally find their perceptions valuable? 2) Does she
understand the genre? Or is she strictly a mystery reader who doesn't like
romance or a romance reader who can't stand science fiction? What does she
read? 3) What is her
agenda? Everyone has her own value system. A woman whose strict morality
wouldn't accept or sympathize with a heroine who has an extramarital affair
is not the best person to read a book where that is a plot point. Consider the content: 1) Is the
criticism objective or subjective? Is it constructive? Someone who simply
says, "I hate your heroine," without giving you a reason for that
dislike (see #3 above) is not giving you a useful or constructive critique. What is the impact of their criticism? 1) This is a
question only you can answer. Ask yourself if making the changes your reader
suggests would stay true to your vision of the book. Look at the themes
you've chose to probe in the story and ask yourself if you've explored them
in the most effective way. Before you decide
on any changes, ask questions. Ask what your reader thinks is happening in
the story. Ask her what her perceptions are about the characters. When she
says she doesn't like something, pursue it. Why didn't she like it? Remember,
if something doesn't work, it may be because the goals and motivations of
your characters are too weak for a reader to believe. Ask: Does
something not work because it's not done effectively? How could it be fixed?
What would make it work? Be sure to talk through the problem until you're
sure she's saying what you think she's saying. Many people
(editors and agents among them) know when something is wrong with a
manuscript, though they may not know what. Because nature abhors a vacuum,
they'll tell you the most obvious problem. The trouble with obvious problems
is that they're often only a symptom of a deeper ailment. Asking deeper, more
probing questions of your reader can help you find the real malady. Remember that
characters and situations do not necessarily have to be sympathetic or
likeable in order to be effective. The only caveat is that a reader must be
interested enough to read on, and that's possible even if they don't like
your protagonist. If a reader responds negatively to an aspect of your story
that is meant to be negative, you've done your job. Just make sure you
haven't done it so well that the reader puts the book down. Another thing to
be cautious of in analyzing a critique is brilliant criticism. I have a
reader who often comes up with brilliant plot twists and character
motivations for my stories. The problem is, they aren't my stories; they have
nothing to do with my vision. I've been so caught up in her ideas that I've
changed direction—and regretted it afterwards. Finally, know
what you're fighting for. You must understand your vision of your book in
order to understand when a suggestion threatens its integrity. In A
Candle in the Dark, my hero is an alcoholic, who, in the
original draft, had been drinking for fifteen years. My editor thought that
length of time made him too unredeemable, and asked me to cut it to three
years. Because it didn't affect the problem I wanted to address in the story,
which was Cain's lack of self-esteem, I had no problem changing it. Another
suggestion, which I received from an earlier critique, was to have Cain fight
his drunkenness in the beginning of the book. That did change the integrity
of the story. A man who fights his addictions does have self-esteem. It was
not possible for me to make that change and still maintain my vision of Cain. A critique can
aid you in revision and finishing your work, but only if you take the responsibility
for getting the most out of it. It means being honest with yourself, and
being accepting of different ideas and ways of thinking. Be open to an
objective viewpoint. Never relinquish your book, but be humble enough to
realize that everything your write can be made better, and that although
there's a certain level of sacrifice involving in seeing your works in print,
you're the one who must stand behind those words when that book is on the
stands. Make sure you're proud of it. |
Copyright 1996 Megan
Chance
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Copyright
2001 Megan Chance