Criticism: A Tale of Two Writer Types

criticism

Criticism: A Tale of Two Writer Types

In writing groups, there seem to be two kinds of writers when it comes to criticism of their work. Both shoot themselves in the foot (feet?) without realizing it.

Type 1: No, no, no.

This writer spends all his time telling you that your suggestions are impractical, impossible, and artistically wrong. There is already an example of this in Feedback Defensiveness, but I think the phenomenon bears repeating.

You:

Fred, I was really liked your premise. However, would people adapt quite so quickly—

Fred:

Well, how long should it take?

You:

I don’t know, but a clearer indication of the timeline—

Fred:

The vagueness is intentional—it will all make sense eventually.

You:

But if the reader can’t situate himself—

Fred:

Well, no, you can’t. I have more faith in my readers.

Might as well have spared your breath. Not only did Fred fend off any feedback but handed you an insult as a bonus.

Fred wins the battle and loses the war by turning the feedback session into a combat zone.  He leaves with his manuscript unaltered and may even have the mistaken impression that, by fending off all criticism, his piece is closing in on perfection.

Yet I have a sneaking sympathy for Fred. You have to believe in yourself and your writing. Otherwise, why would you keep going?

And, let’s face it, there is usually a variety of levels of experience and talent in any writing group. Some give great on-point feedback and others can’t distinguish between how they would write your piece and helping it be the best it can be.

I get why Fred might be defensive but it’s not an effective way to improve his or your work. But there is another more insidious way to prevent progress.

Type 2: I agree with all your criticism

This writer usually takes copious notes in a feedback session. When anyone suggests a change (Didn’t buy the motivation; the flashback was too long; don’t have the protagonist tell the story), Sheila writes ‘change motivation,’ ‘shorten flashback’, ‘lose story frame.

This writer seems the perfect antidote to Fred. Tries to benefit from all the feedback. But her approach is also ineffective in the longer term. Here’s why:

  • You get different points of view, which of course is why you’re in a writing group. But one piece of feedback might be, ‘I found Melissa cold and distant,” while another says, “Oh, no, she reminds me of my aunt Zebby—we all loved her.” So, cold and distant or warm and loving? When Sheila tries to fix her piece, she doesn’t know which feedback to choose.
  • You are allowing others to shape your voice. While Fred’s belief in his writing is getting in the way, so is Sheila’s willingness to treat all feedback as equally applicable. With this approach, you run the danger of establishing a voice which is a composite of your writing group rather than one which is uniquely yours.
  • Feedback can be idiosyncratic. Perhaps the group member liked Melissa because you put her in a blue dress which was Aunt Zebby’s favorite color. Which is not to say that the feedback of Melissa being cold and distant is right, either, since it may also be an idiosyncratic response.

So, where are you? There is a way to receive criticism which would work for both Fred and Sheila. Next post.