What do you do if you see a problem outside the scope of the specific feedback your CP has asked for? (If they tell you in advance they want feedback about worldbuilding and you see a structure issue)
Monica Hay
2 months ago
How do you help your CPs hurt their characters if they struggle to put their characters through hurdles?
JMTuckerman
2 months ago
Where do you go to find good critique partners? (I’m literally terrified about people taking my work)
Ryan
2 months ago
How do you feel on the length of comments during critiques for CPing especially as someone who often writes short or overly long ones?
Last edited 2 months ago by Ryan
ElizabethAnne
2 months ago
What are the pros and cons of chapter by chapter and full manuscript?
Amy
2 months ago
I’ve heard the advice that, when critiquing, you should point out problem areas but not suggest fixes. Do you think that’s true?
Suggesting fixes can be useful as long as you always make sure it comes across as a suggestion, or a brainstorming example, etc. Examples can be extremely helpful for writers, but telling someone that your fix is the “right way” usually isn’t. 🙂 Hope that helps!
I think it’s really personal preference. I personally prefer specific, actionable critiques when there’s a problem. The last thing I want is for a CP to point out a problem area, and then have no clue how to address it. But also, suggestions are merely that: suggestions. And it’s ultimately up to the writer to decide whether to accept them or not.
I usually give suggestions in terms of “I might solve the issue this way.” That way I’m presenting an option instead of telling them exactly how they should approach it.
Tracy
2 months ago
What’s a good time in the writing process to start sharing work with a critique partner?
What are some qualities you look for in a critique partner?
ElizabethAnne
2 months ago
How can I gain more confidence in giving advice?
Crazyfoxxy
2 months ago
What are you thinking about when you are reading your CP’s pages? What tools do you draw on when you provide critique? It’s a strange kind of active reading, where you have to verbalize what you liked and didn’t like real time. I think about voice, goals of the characters, stakes, and obstacles, pacing, plot drift, etc.
Sorry we ran out of time! This is a great question. I’d say that it helps to do this in two passes, just like editors do. On your first pass, concentrating on your reactions as a reader (chronicling them in comments is a helpful way of doing this) helps you get a feel for the book as a whole. Then, you can write an edit or feedback letter after you’ve thought about it that organizes your initial feelings and converts them into helpful feedback in those key areas you mentioned: characters, stakes, pacing, plot, etc. Some CPs even organize their feedback into those sections.
Of course, you might not have the time do all of that if you’re sitting across from them or on Zoom in a writer’s group meeting–that one does require more active reading. I’d say it takes practice to both make sure you’re receiving the content like a reader first and then convert those thoughts quickly into helpful feedback, but it’s important never to lose sight of the importance of both. 🙂 Hope those thoughts help a little!
When I’m doing a first read of a CP’s pages, I’m usually looking for things that take me out of the story. Sometimes it’s details related to the world-building, or dialogue/blocking that bumps for me. I’m always looking for ways that I can help my CP make their pages stronger.
If I’m doing a longer read, I try not to get bogged down in the details and just enjoy the story, but always reading actively. I try to predict where the story is going, and then if it takes an unexpected turn, it gives me the opportunity to examine why that works, or maybe how it could work better.
I usually think in terms of What Works and What Doesn’t. If I encounter something that I love, and that works really well, I’ll give it a shoutout and let the writer know I think it’s particularly great. If something doesn’t work, I’ll pause and examine why it doesn’t work for me, and then describe those reasons to the writer. Of course, when something is really well written, I sometimes forget I’m supposed to be critiquing, but that in itself is good because I can tell them, “Hey, this is working so well that I just read this chapter like a reader and not a critique partner.”
Amy
2 months ago
When giving critiques, I often struggle with pointing out problems because I don’t want to hurt the writer’s feelings or dampen their enthusiasm for their work. Any tips?
I have at least one suggestion for this. Remember that you can’t control how the other person reacts to your advice. It could be negative, but it could also be a negative that turns into a positive. Trust them a bit. Even if it does dampen their enthusiasm for writing for a bit, if they really want this, they’ll use it to grow. And you can always be a voice of encouragement too (without taking back what critiques you gave). Encouragement and critique aren’t opposites–in fact, pairing the two empowers the person you’re giving it to. When you view it that way–as a way to empower them and support them–they’re more likely to feel and take it that way as well. 🙂 Just some thoughts! Thanks for coming to our panel, Amy!
As long as you offer feedback in a professional and helpful way, you’ve done your job as a critique partner. Then it’s up to the writer to accept your feedback in a professional way, viewing it as an opportunity to improve and not an attack on their work.
ElizabethAnne
2 months ago
What is the one thing that you wished you knew when you were starting out with your first critique partnership?
Crazyfoxxy
2 months ago
We have Critique Roundtables within the SCBWI Los Angeles Lit Mingles. They are wonderful.
I don’t know if I believe there’s such a thing as an impartial critique, as that would require human beings to completely operate without bias–and since art and writing are subjective, that would make things difficult too, haha. But I do believe it’s possible to account for your biases and make sure they don’t sway your feedback in a negative way. For example, just because you love the “bad boy” trope doesn’t mean you should suggest that as the way to make the main romance between the MC and a “nice guy” interesting. It may already be interesting–just not to you. Or, it could be that the current relationship is lacking any sort of conflict or tension, which can be added without changing one of the characters to a completely different personality. Accounting for that is important to giving balanced feedback, but overall, knowing what the person you’re giving feedback to is after is the best governing rule for feedback. 🙂 Those are my thought, anyway! Thanks for asking!
This is a great question. I’m not sure it’s ever possible to give a truly impartial critique. We all bring different life experiences to the critique table, and that is what makes feedback so interesting and so important. I really do love the sandwich method for finding a way to give balanced feedback. It forces me to slow down and consider what my CP needs from me, and how I can best deliver that critique in a constructive and actionable way. I would recommend keeping your CP’s intention for the piece at heart, and keeping your feedback tied as close to that goal as you can.
Kaela and Erin are totally right. We can never be perfectly 100% neutral. However, if we critique something, we can try to be self-aware of the lens through which we’re viewing the work. So we may point out a story element that we don’t care for, but acknowledge that it may just not work for us because it’s not our preference, and others may react differently.
JENGarrett
2 months ago
Honest but soft feedback for critique a not-quite-serious pre-author is tough! I’ve had to give that kind of critique. I try to find a way to suggest an audience, even if I can’t see a market. Their family might treasure their memoir, or a friend group might appreciate their experience.
But I’ve learned to say, “No” more, too.
What do you do if you see a problem outside the scope of the specific feedback your CP has asked for? (If they tell you in advance they want feedback about worldbuilding and you see a structure issue)
How do you help your CPs hurt their characters if they struggle to put their characters through hurdles?
Where do you go to find good critique partners? (I’m literally terrified about people taking my work)
How do you feel on the length of comments during critiques for CPing especially as someone who often writes short or overly long ones?
What are the pros and cons of chapter by chapter and full manuscript?
I’ve heard the advice that, when critiquing, you should point out problem areas but not suggest fixes. Do you think that’s true?
I actually prefer when people have suggestions. It sometimes helps paint a clearer picture of what they thought was wrong.
Suggesting fixes can be useful as long as you always make sure it comes across as a suggestion, or a brainstorming example, etc. Examples can be extremely helpful for writers, but telling someone that your fix is the “right way” usually isn’t. 🙂 Hope that helps!
I think it’s really personal preference. I personally prefer specific, actionable critiques when there’s a problem. The last thing I want is for a CP to point out a problem area, and then have no clue how to address it. But also, suggestions are merely that: suggestions. And it’s ultimately up to the writer to decide whether to accept them or not.
I usually give suggestions in terms of “I might solve the issue this way.” That way I’m presenting an option instead of telling them exactly how they should approach it.
What’s a good time in the writing process to start sharing work with a critique partner?
What are some qualities you look for in a critique partner?
How can I gain more confidence in giving advice?
What are you thinking about when you are reading your CP’s pages? What tools do you draw on when you provide critique? It’s a strange kind of active reading, where you have to verbalize what you liked and didn’t like real time. I think about voice, goals of the characters, stakes, and obstacles, pacing, plot drift, etc.
I would have liked to hear the panel’s response to this, but they ran out of time 🙁
I think a few are going to answer some of the lingering questions!
Sorry we ran out of time! This is a great question. I’d say that it helps to do this in two passes, just like editors do. On your first pass, concentrating on your reactions as a reader (chronicling them in comments is a helpful way of doing this) helps you get a feel for the book as a whole. Then, you can write an edit or feedback letter after you’ve thought about it that organizes your initial feelings and converts them into helpful feedback in those key areas you mentioned: characters, stakes, pacing, plot, etc. Some CPs even organize their feedback into those sections.
Of course, you might not have the time do all of that if you’re sitting across from them or on Zoom in a writer’s group meeting–that one does require more active reading. I’d say it takes practice to both make sure you’re receiving the content like a reader first and then convert those thoughts quickly into helpful feedback, but it’s important never to lose sight of the importance of both. 🙂 Hope those thoughts help a little!
When I’m doing a first read of a CP’s pages, I’m usually looking for things that take me out of the story. Sometimes it’s details related to the world-building, or dialogue/blocking that bumps for me. I’m always looking for ways that I can help my CP make their pages stronger.
If I’m doing a longer read, I try not to get bogged down in the details and just enjoy the story, but always reading actively. I try to predict where the story is going, and then if it takes an unexpected turn, it gives me the opportunity to examine why that works, or maybe how it could work better.
I usually think in terms of What Works and What Doesn’t. If I encounter something that I love, and that works really well, I’ll give it a shoutout and let the writer know I think it’s particularly great. If something doesn’t work, I’ll pause and examine why it doesn’t work for me, and then describe those reasons to the writer. Of course, when something is really well written, I sometimes forget I’m supposed to be critiquing, but that in itself is good because I can tell them, “Hey, this is working so well that I just read this chapter like a reader and not a critique partner.”
When giving critiques, I often struggle with pointing out problems because I don’t want to hurt the writer’s feelings or dampen their enthusiasm for their work. Any tips?
I have at least one suggestion for this. Remember that you can’t control how the other person reacts to your advice. It could be negative, but it could also be a negative that turns into a positive. Trust them a bit. Even if it does dampen their enthusiasm for writing for a bit, if they really want this, they’ll use it to grow. And you can always be a voice of encouragement too (without taking back what critiques you gave). Encouragement and critique aren’t opposites–in fact, pairing the two empowers the person you’re giving it to. When you view it that way–as a way to empower them and support them–they’re more likely to feel and take it that way as well. 🙂 Just some thoughts! Thanks for coming to our panel, Amy!
As long as you offer feedback in a professional and helpful way, you’ve done your job as a critique partner. Then it’s up to the writer to accept your feedback in a professional way, viewing it as an opportunity to improve and not an attack on their work.
What is the one thing that you wished you knew when you were starting out with your first critique partnership?
We have Critique Roundtables within the SCBWI Los Angeles Lit Mingles. They are wonderful.
Is there such a thing as an impartial critique? How would you recommend giving balanced feedback?
I don’t know if I believe there’s such a thing as an impartial critique, as that would require human beings to completely operate without bias–and since art and writing are subjective, that would make things difficult too, haha. But I do believe it’s possible to account for your biases and make sure they don’t sway your feedback in a negative way. For example, just because you love the “bad boy” trope doesn’t mean you should suggest that as the way to make the main romance between the MC and a “nice guy” interesting. It may already be interesting–just not to you. Or, it could be that the current relationship is lacking any sort of conflict or tension, which can be added without changing one of the characters to a completely different personality. Accounting for that is important to giving balanced feedback, but overall, knowing what the person you’re giving feedback to is after is the best governing rule for feedback. 🙂 Those are my thought, anyway! Thanks for asking!
This is a great question. I’m not sure it’s ever possible to give a truly impartial critique. We all bring different life experiences to the critique table, and that is what makes feedback so interesting and so important. I really do love the sandwich method for finding a way to give balanced feedback. It forces me to slow down and consider what my CP needs from me, and how I can best deliver that critique in a constructive and actionable way. I would recommend keeping your CP’s intention for the piece at heart, and keeping your feedback tied as close to that goal as you can.
Kaela and Erin are totally right. We can never be perfectly 100% neutral. However, if we critique something, we can try to be self-aware of the lens through which we’re viewing the work. So we may point out a story element that we don’t care for, but acknowledge that it may just not work for us because it’s not our preference, and others may react differently.
Honest but soft feedback for critique a not-quite-serious pre-author is tough! I’ve had to give that kind of critique. I try to find a way to suggest an audience, even if I can’t see a market. Their family might treasure their memoir, or a friend group might appreciate their experience.
But I’ve learned to say, “No” more, too.
Great insight, Jen!
Thank you, Kaela, Erin, and Ryan! I learned so much from you. =)
Thank you so much for coming, Elizabeth! Glad we could help in some way on your journey!
Glad we could do it! Thanks for attending.