Tonight’s guest blog post, on the topic of critique is brought to you by C.S. Lakin.
A Help or a Hindrance— Does It Really Pay to Get Your Manuscript Critiqued?
Critique. Just the word alone makes authors cringe. Why? Because it reminds us of another word that has a negative connotation: criticism. Yet, as authors we understand the need to have another pair of eyes look closely at our manuscript and give us constructive advice and direction so we can make our book the absolute best it can be. But an unprofessional, misguided, or inconsiderately toned critique can cause great heartache and discouragement, so should we really risk our already fragile writer’s ego and let someone tear our precious work apart? Will a good critique be worth not just the money but the emotional cost?
Some copyeditors claim you should never get a critique because it is entirely subjective. They say all you need is to get your book edited by a copyeditor and fix all the grammatical mistakes. And it’s true that getting a thorough copyedit is essential. But few writers think about getting their book critiqued first. However, in my twenty-five years of experience with writing novels, becoming a multi-published author, and working professionally as a copyeditor and writing coach in the publishing industry, I have come to conclude that most authors—whether a new writer or seasoned published author—need a critique and preferably in the early draft of their manuscript.
But Critiques Are Subjective!
Sure, critiques are subjective. But when your novel or nonfiction manuscript lands on a literary agent’s desk, or is placed in an acquisition editor’s hands, it will be read subjectively as well. But here’s the thing authors need to understand: a professional in the publishing industry will temper a subjective read with years of experience; an understanding of current market needs and trends; establish or accepted writing styles, structure, and formatting; and a honed sense for an original and compelling writer’s voice. There is no such thing as an objective critique, but that should not be an issue. Getting an insider’s take on just how well your book holds up is invaluable and can save you months or even years of submitting a flawed manuscript and getting back dozens of rejections without knowing why—leaving you more discouraged than ever.
When you look for someone to critique your “baby”, I would encourage you to look for someone who is not only interested in helping you make your book shine but wants to help you make it all you envision. A supportive critiquer will encourage you, instruct you, and help you along this rocky road. A good critique should not come across as a nice pat on the back with a few muttered words like “Good job. Keep it up.” It should thoroughly address all the major elements in your novel or nonfiction manuscript, and preferably using an annotated style (with comments along the margins of each page) rather than just an overall summary at the end of your manuscript or in a separate document.
However, we as writers grow attached to our words, and an insensitive editor can cause a lot of pain. More than one author friend or client has cried to me in anger, frustration, and a readiness to give it all up after being handed an insensitive critique. Often these critiques are full of negative remarks with little constructive advice, examples of how to reword a sentence better, or explanations as to why a passage does not work well. It takes courage to hand your project over to someone—this book you’ve spent months or perhaps years writing, sweating over, all the while second-guessing yourself and the merits of your book, only to have someone heartlessly rip it to shreds. For that’s our greatest fear—that despite all our hard efforts, we may have produced something that should go in the round file.
Be Ready to Work
I find the greatest satisfaction in helping my clients with their manuscripts. I have seen some of the worst manuscripts—poorly constructed, wordy, almost unreadable—turned into beautiful, well-crafted books that their authors are proud of. I have gone on to see many of my clients get agents, land contracts, and get published because they were willing to work hard to take their rough work and perfect it to the best of their ability. These authors show they are dedicated and willing to learn and listen. But I wonder how many (or few) of them would have dug in to their necessary revisions had they been treated insensitively by a critique. Of course, there is no guarantee that if you follow all the suggestions in your critique that you will get an agent or land a book contract. So many variables affect those outcomes. But applying yourself to make the changes suggested in a good critique will stretch you and teach you how to be a better writer, and as you apply the things you learn, your chances of reaching your dreams will improve immensely.
Do I Really Need One?
Your critique will give you the help you need to get your manuscript or proposal in shape. Your book is competing with hundreds of thousands of others to grab the attention of an agent or publishing house, so you want to do everything you can to make sure your proposal, query letter, synopsis, and book stand out from the rest.
So, if you’ve decided maybe you do need to take this first step, do some research and ask possible editors you are considering hiring for testimonials from clients. Start a dialogue with the editor to see how friendly, accommodating, understanding, and compassionate he or she comes across. And take a look at their concrete experience and influence in the publishing industry. However, don’t expect them to drop everything and answer dozens of e-mails packed with lengthy questions. Don’t expect them to be available to talk on the phone either. Often clients, in their need to be assured an editor will be right for them, expect the editor to push aside whatever she is doing at any given moment to attend to their needs and questions. A potential client wants to feel safe and needs to build a measure of trust with the professional she is dealing with, and that’s understandable. But we editors are busy—not just editing but with our personal lives as well, just as are doctors, dentists, and nurses.
So once you find an editor that seems a good match, send her your manuscript and let her do her job. Answer any questions he may have to better help her understand your objectives in your story. If you can provide her with a synopsis or story summary (for a novel) or a book proposal (nonfiction), that’s a great help. Then, when your critique is done, take all the suggestions to heart and make the changes you feel will best suit your writing style and story. Not every comment included in your critique will work for you. But you’re the author and it’s your book, so weigh each suggestion and trust your intuition. As long as you keep your mind and heart open to ways to improve, your critique will feel less like criticism and more like a gift.
Learn to Give Constructive Critiques
Often, writers will join critique groups or get a critique partner, and having some great author friends who are good at giving constructive suggestions can be a real blessing. They get familiar with your style and know your voice. And because they know you as well, they can often spot areas in your writing that just don’t sound right, or where you could do better. But have you thought about your role as a critiquer and what kind of advice you want to give? The adage “Do unto others as you would have them do unto you” really applies here. Do you really want someone to read your chapters and just say “good job” without being honest about the problem areas they see? On the other hand, even though you want them to point out your weaknesses, you certainly don’t want them to be tactless. You would like them first to say something encouraging, point out the good aspects of your writing, then be polite and share kindly what they think might need fixing. We all have egos, and we can often be very sensitive to criticism, even when it comes from a friend. In fact, even more so when it comes from a friend. However, we need to separate friendship from critique. Don’t kill the messenger if they give you a distasteful message.
And so with these thoughts in mind, be the same kind of critiquer that you want others to be. The first thing I learned from my editing mentor is this: Always start with praise. Find things to compliment, and be honest about those things—don’t just randomly throw out a few nice words and then dig in with what’s wrong. Seriously look at the commendable aspects of those chapters and say some encouraging things about how well those elements worked. And then when you get ready to offer helpful suggestions, be sure your tone is uplifting and not harsh.
If you want to help critique another’s work and would like a helpful checklist of all the major elements to cover (for fiction), you can copy and paste this list into a document and use it—useful not just for critiquing others’ work but also your own: http://critiquemymanuscript.com/checklist-for-critiquing-a-novel
Finding a wonderful editor and critiquer to help you along in your writing journey is a real blessing. Maybe it’s time to take the plunge and get the help you truly need. And hopefully, by choosing just the right editor and taking just the right attitude toward the suggestions given, your critique will be a help, not a hindrance, to you.
That was great, thank you. And I totally agree. I would always have a second opinion on anything I put out for sale. A reader is putting their faith that I have made it the best that it can be. 
C. S. Lakin is the author of twelve novels, including the fantasy series, “The Gates of Heaven”, with the first three books now out in stores and online in multiple formats. She also writes contemporary psychological mysteries, with her Zondervan contest winner, Someone to Blame, having been released last October.
She works as a professional copyeditor and writing coach and loves to teach on the craft of writing. Her new websites are dedicated to critiquing fiction (www.CritiqueMyManuscript.com) and building community to help survive and thrive in your writing life (www.LiveWriteThrive.com). Come join in by following @livewritethrive on Twitter. You can read more about her at www.cslakin.com.
If you would like to write a writing-related guest post for my blog then feel free to email me with an outline of what you would like to write about. If it’s writing-related then it’s highly likely I’d email back and say “yes please”.
The blog interviews return as normal tomorrow morning with literary fiction author Myra Sherman – the three hundred and eighty-seventh of my blog interviews with novelists, poets, short story authors, bloggers, autobiographers and more. A list of interviewees (blogged and scheduled) can be found here. If you like what you read, please do go and investigate further. And I enjoy hearing from readers of my blog; do either leave a comment on the relevant interview (the interviewees love to hear from you too!) and / or email me.
You can sign up to receive these blog posts daily or weekly so you don’t miss anything… and follow me on Twitter where each new posting is automatically announced. You can also read / download my eBooks and free eShorts at Smashwords, Sony Reader Store, Barnes & Noble, iTunes Bookstore, Kobo and Amazon, with more to follow. I have a new forum and you can follow me on Twitter, friend me on Facebook, like me on Facebook, connect with me on LinkedIn, find me on Tumblr, complete my website’s Contact me page or plain and simple, email me. I also now have a new blog creation service especially for, but not limited to, writers.
Unfortunately, as I post an interview a day (amongst other things) I can’t review books but I have a feature called ‘Short Story Saturdays’ where I review stories of up to 2,500 words. Alternatively if you have a short story or self-contained novel extract / short chapter (ideally up to 1000 words) that you’d like critiqued and don’t mind me reading it / talking about and critiquing it (I send you the transcription afterwards so you can use the comments or ignore them) on my ‘Bailey’s Writing Tips’ podcast, then do email me. They are weekly episodes, usually released Monday mornings UK time, interweaving the recordings between the red pen sessions with the hints & tips episodes. I am now also looking for flash fiction (<1000 words) for Flash Fiction Fridays and poetry for Post-weekend Poetry.
Synopsis: A woman is tempted away from the safety of her husband’s arms by a skillful night-time visitor. But they both find nothing is what it seems…
Born in the University city of Cambridge, England, Julia Kavan has spent most of her life living in Cambridgeshire – atmospheric and the perfect inspiration for ghost stories. She has taught creative writing classes for the last ten years, whilst writing screenplays, tackling a novel and experimenting with short stories.
Welcome to the first of my new short story reviews and today is ‘A Coffin and Bubblegum’ by ‘
I know it’s only Friday but I’ve come up with a new feature: Short Story Saturdays, alias 
AJ Kirby is the award-winning author of five novels (Paint this town Red, 2012; Perfect World, 2011; Bully, 2009; The Magpie Trap, 2008; When Elephants Walk through the Gorbals, 2007), two novellas (The Black Book, 2011; and Call of the Sea, 2010), one novelette (Bed Peace, 2011) and over forty published short stories. He is also a sportswriter for the Professional Footballers’ Association and a reviewer for The Short Review and The New York Journal of Books.
I’ve recently finished editing and proofing (for about the fifth time) the manuscript which will magically transform, like a caterpillar into a butterfly (or some such) into my fourth published novel Paint this town Red. And last night I realised I’ve become a stickler, a right old Lynn Truss-er, the kind of person driven so mad by a spelling mistake or punctuation error that I feel duty bound to correct it in 
Danny Kemp is a 62-year-old man, but just change the numbers around to find his real personality. He is quick witted with a devilish sense of humour, socially interacting well across all generations. His writing comes from years of diverse experiences encompassing the Metropolitan Police and the Licensed Taxi trade in the Capital. His interests now are divided between his work, his family, especially his three grandchildren, and his new-found ardor of writing.
Guest post: How Do You Handle the Big “C”? (Or What Do You Do With Criticism) by Nancy Ellen Dodd
Tonight’s guest blog post, on the wonderful topic of criticism, is brought to you by interviewee Nancy Ellen Dodd.
How Do You Handle the Big “C”? (Or What Do You Do With Criticism)
Then I learned five simple words: “S/he is not my audience.” It’s as simple as that. My writing can’t possibly appeal to every person in the world, so this is someone my writing doesn’t appeal to.
Unfortunately, if you are in a group getting critiqued, you may find several “someones” who aren’t your audience. What typically happens in a workshop or writer’s group is that people feel it is their duty to find a flaw. If everyone figures out a different flaw, or if the group sees a flaw, but doesn’t know how define it, then you will get more criticism, possibly than warranted, and some of it may be hurtful, some of it confusing, and some of it wrong. I mean, have you ever jumped on the bandwagon when you weren’t sure yourself and agreed with someone who seemed to know what they were talking about?
The best way to handle criticism and negative comments is to know your own work so well that you know when someone is giving you good or unhelpful feedback. And even good feedback isn’t helpful if it derails you from your story.
Good feedback that takes your story in a different direction than you are interested in writing can cause you to lose interest in the story or even create writer’s block. If that happens, I suggest looking at your story and saying, what if it didn’t happen that way, what if it happened this way. Sometimes taking a fresh approach will reignite the idea you wanted to write.
So how do you know what you want to write and what will derail you. By knowing your story and being clear on what you are trying to say. Look at your theme repeatedly throughout your story development and see how you can tighten it, make it more specific. Look at your theme from different angles: as a premise, as a dramatic question, as a logline, as a brief synopsis, as a full-page synopsis. The more you write and develop your ideas, the more you understand what you want to say. Each time you rewrite and strengthen your theme, you get closer to the core of what you want to say about the world, about life, about humanity, about why cats sometimes love dogs, about whatever you are focused on.
How Do You Evaluate Comments
Let’s go back into the writing group. Sherry loves your story, Mack hates it. You’ve set your story in Fresno. Sherry suggests you move the setting to London—more people will be intrigued by a glamorous setting. Mack is sure it needs to be in a small rural town no one has ever heard of—you can create more mystery in an unknown setting and change the details to anything you want. They both have other ideas, Sherry’s from how to make it even better, Mack for improving it. However, they both agree that your main character would not spit on the sidewalk no matter who was standing there.
What do you do with all of this? First, it’s your story and maybe you don’t know why it takes place in Fresno, but the thought of moving it out of that setting feels wrong in your gut, however both Sherry and Mack have good points. And they probably do, they might even write a great story if they set it somewhere else, but that’s their story, not yours. There’s something in Fresno that matters to you, you have to keep writing about it until you figure out what that is and then use it.
Sherry and Mack both agree that you’ve misread your character. One of two things has occurred, you did misread your character and the character you thought you wrote about isn’t the same one they are reading about, or you threw something in to surprise the audience, but it doesn’t work organically with the character you’ve created. However, Jane loved the spitting on the sidewalk, it was so unexpected. How much stock do you usually put into what Jane says? If not much, this may not be the time to start; if a lot, then maybe the problem is that you haven’t completely setup the character to your readers that you have in your head.
Margo, along with several other people are telling you there is a problem with the way your characters are acting in the fourth chapter. Maybe if you change their attitude you can fix it, but everyone sees something different as the problem in chapter four. The motivation isn’t there. You’re missing a pertinent scene. Why do you have so many or too few characters? Something’s missing. You’ve included too much. No one can be specific or explain it in a way you understand. This means they may not know what the problem is, it just doesn’t work for them. You are going to have to keep working at it until you figure it out. However, too many people do a complete rewrite instead of tackling what could be a much smaller problem. Sometimes the issue is consistency or it may be a logic problem or maybe you haven’t set up the scene in such a way that the events are believable, which could be done with a couple of well-placed phrases.
Basically, when you get feedback you need to evaluate what that feedback means.
Thank you Nancy, that was great!
If you would like to write a writing-related guest post for my blog then feel free to email me with an outline of what you would like to write about. If it’s writing-related then it’s highly likely I’d email back and say “yes please”.
The blog interviews return as normal tomorrow morning with Stella Deleuze – the two hundred and forty-seventh of my blog interviews with novelists, poets, short story authors, bloggers, autobiographers and more. A list of interviewees (blogged and scheduled) can be found here. If you like what you read, please do go and investigate further. And I enjoy hearing from readers of my blog; do either leave a comment on the relevant interview (the interviewees love to hear from you too!) and / or email me. You can also read / download my $1.49 eBooks and free eShorts at Smashwords.
Posted by morgenbailey on January 12, 2012 in ebooks, tips, writing
Tags: criticism, critique, help, Nancy Dodd, Nancy Ellen Dodd, negative comments, novels, rejection, tips, writing, writing guide