How To Be A Good Critique Partner (reprint)

Critique groups abound, especially as NaNoWriMo wraps up. The crisp, cold weather of winter combined with the frenzy of writing a novel in a month spawns writing groups like there is no tomorrow. New writing groups are wonderful, but not all critique partners are created equal.

The horror stories about bad critique partners turning a book into a chimera are all over the place. If you have nothing better to do one day, ask me about it on Twitter when I’m in a talkative mood. I have stories. But this post is about how to make yourself a better critique partner.

1) Know the Expectations
Before you start any editing project you need to know what the author wants. The wrong critique at the wrong time will kill many a good book before it’s finished. Ask the author before you start what they want. I offer levels…
— “Just a look” where I read it over and give a thumbs up or down. This is perfect for rough drafts and cheering on an author struggling to complete a project.
— “Look for plot holes” where I read and point out inconsistencies in the plot line, plot holes, and correct basic spelling and grammar errors with a note (ie – note: comma before proper names in DL)
— “Shred it” where you nitpick every single word and flaw. This is an edit for a final draft. Every word and movement is under the microscope for nuance and meaning, and I only do this with an author who is subbing the piece in the next 6 months. I wouldn’t attack a first draft like this ever.
— “Final Edits” reading the piece out loud and looking for grammar and spelling errors exclusively. This is for a clean copy that’s days away from being submitted. It’s not uncommon for authors to add a spelling error while editing.


2) Know the Audience
Before you can critique you need to know where the manuscript is headed. As a critique partner the book isn’t written for you, it’s written for a reader somewhere out in the great, big world. You need to be the reader’s advocate and make sure the book turns out well enough that someone who doesn’t know the author can enjoy it.

3) Know the Market
Fuss all you like about artistic rights. If an author wants to publish a book they need to know the market expectations (word count, content, common tropes, ect) and so does their critique partner. A good critique partner is going to red flag a mid-grade manuscript that goes over the 60,000 word limit. You also need to be familiar with the genre your partner writes in. What happens if you and your buddy both write horror and then, one day, your partner decides to write epic fantasy YA? You either start reading epic fantasy YA, or you find your buddy a new critique partner who knows the genre. Trust one who has been mismatched with critique partners before, it’s not pretty when someone edits a sci-fi manuscript with YA expectations. *shudder*


4) Trust The Author -or- Don’t Cut To Early
Never tell an author a scene doesn’t need to exist until you’ve finished the book. There’s a habit in writing groups to rip and shred before reading, and it doesn’t work. Yes, that opening line needs to be amazing, but the only legitimate comment you can give about the validity of an opening chapter is, “This works, I’m hooked.” or “I’m not hooked yet, I’ll keep reading and maybe there’s a better opening.” (Hint: check chapter 3)

5) Leave The Voice
The novice mistake of critiquing is to rewrite the book in your own words. Resist the urge. Every author has a unique voice, don’t squish it into oblivion because you’d compare love to a summer’s day and the author compares love to a rosy sunset.

6) React
Ninety percent of the notes on a good critique are reaction notes. “Oh My Gosh!!! I can’t believe Character just did that!” … “Love it!” … “I laughed here.” … “I’m picturing him naked, which I know is wrong. Rewrite.” Reactions let an author know if things are working. A large, and often overlooked, portion of editing is leading the reader down a path of emotions and reactions. If the author wanted a scene to be warm and cuddly and it’s coming off with a stalker vibe, the author needs to know. Don’t get caught up in the But-The-Author-Told-Me trap. Readers are not going to have a two hour conversation about this scene with the author. They won’t know that the author wanted the guy to be authoritative and demanding. The reader will see a stalker scene, not an authoritative male being Alphahole-ish but sweet.

Do you have anything to add? What makes a critique partner great? Hit the comments and tell me all about it.

Previously published December 2012 on www.lianabrooks.com

I’m Alive! And writing over at Unbound Worlds…

 

You may have noticed that blog posts have been a little thin on the ground lately. That’s because 1) it was spring break last week and I was AFK (away from keyboard) a lot and 2) because I’ve been using my blogging time to write cage matches for Unbound Worlds.

If you want to catch up with my takes on some of your favorite fandoms I have so far written.

The Luggage vs Ky Vatta
The Luggage vs Tom Bombadil
Tom Bombadil vs Mr. Wednesday
Devi vs Harry Dresden