Writers Journey: The Fine Art of Criticism part 3...

Before a writer gets into final revisions, there is usually a process of peer review.  Some writers will join a critique group.  Others will have mentors who are professionals in the field or perhaps they are on staff in some academic facility.  The first external review of a work is often the hardest part of the process.  The manuscript is not in its final stage and the people that the author invites to read it must be sensitive to that understanding. Many fledgling writers are pulled into the allure of the critique group.  It’s my opinion that a good critique group builds a solid writer for a few years, but sooner or later, the dynamic begins to shift when a writer starts coming in to their own professionally and takes on a strong professional voice and begins to kick the training wheels off their bike and ride with the pros.  Eventually you will want to find readers rather than writers when you’re looking for feedback as you evolve as an author because at the end of the day your work will be primarily in the hands of readers, not writers, and there is a distinction. There is a difficulty in navigating most critique groups in that everyone in that circle with you is not only another writer, but also usually a direct competitor.  This is an implicit dynamic that no one likes to acknowledge openly but it’s imperative that you understand this when going in to a group of other writers.  They have agendas and so do you.  The point is to push past this to give and receive a meaningful critique.  There are many good critique groups out there that get it right and most of them have rules and guidelines that help...

Writers Journey: The Fine Art of Criticism...

We’ll be looking at criticism for the next few weeks and I’ll be reviewing the steps within the author’s editing process, then the whole process of editorial review at and before the publishing level, as well as what happens when the critics finally assess your story or novel. The fine art of criticism begins with the author and continues in many stages through to the editorial phase of any work. There are many pitfalls along the way, and some of them are natural and occur because it is impossible to be perfectly objective about one’s own work. The closest you can get to being truly objective is to put something away long enough to absolutely forgot that you’d written it in the first place. When you pull out the manuscript and wonder what had compelled you to write this or that detail, or what possessed you to add this or that scene, then you have a good grasp on what it’s like to be on the other side as the reading audience or the editor looking over your work for the first time. This is why a lot of authors have taken years to perfect a work of art. Some, like E.M. Forster, sat on manuscripts for up to forty years and sometimes it was not by choice. But the time to perfect the manuscript, to age with your piece, is nevertheless valuable. What a writer looks for in tightening up a draft is manifold really. At the start, the most important factor in your drafts is to take the large view and work to the small view. This is why it’s vital to just keep putting down pages daily and building up the material you have to work with. As a writer, we’re one...