How often have you listened to a loved one say something complimentary, but meaningless, about your writing? The benefit of another’s input is lost if we don’t stipulate our exact requirements. Asking our nearest and dearest to critique without furnishing them with guidelines can only result in worthless platitudes.
My husband used to read my work hot off the printer. I would give him the piece with first-draft errors, spelling mistakes and the punctuation awry, but still expect him to see beyond to the masterpiece beneath. As if that wasn’t bad enough, I also hoped he’d tell me where I might be able to improve the story and would then be infuriated because he allowed himself to get sidetracked by the unimportant spelling errors. But, of course, he was right.
That’s one, but only one, of the cardinal rules. Check grammar and spelling before you ask anyone to read your work.
But let’s suppose the grammar and spelling are perfect, what are we actually looking for when we ask for a critique? If we genuinely want constructive criticism, we need to ask for it in a constructive manner.
The following passages set out some guidelines to follow. Whether you’re a writer of fiction, humour pieces or serious feature articles, these should reward you with the type of critique which will tell you not only where you’re going wrong, but also what you’re getting right.
The guidelines can also be used to critique another’s work. A friend and I often critique each other’s writing. Even though we have completely different writing styles and genre, it is possible to be objective by following the guidelines.
If there isn’t anyone with whom you feel comfortable asking for a critique then use the guidelines on your own work. Remember though that it’s necessary to put the piece away for a few days before looking at it critically. But if you constantly use the guidelines before submission to an editor, you’ll be amazed at how quickly your acceptance rate will improve.
Part One – What to look for in Fiction
Some competitions give a tick sheet analysis of entries. If you study these carefully you’ll soon realise they all judge on the same criteria. The theme may differ, but every judge looks for a gripping opening, a believable plot, plenty of conflict, good characterisation and dialogue, clear point of view and the ability to show – not tell. Add to that an eye-catching title and you can’t go wrong.
But competition judges differ from our loved ones in one important aspect – they know they’re looking for these things. We need to make sure the person critiquing our fiction follows the same rules. Giving them guidelines, in which each element is marked, makes it easier to make valid judgements.
Opening
1. Does the opening paragraph grab attention from the outset?
2. Does it present a problem to be resolved?
3. Is it clear from whose point of view the story is being told?
Plot
1. Was the plot easy to follow?
2. Was it believable?
3. Was everything resolved at the end?
4. Did the story start in the right place?
5. Pace: Does the story move fast enough to hold interest?
Conflict
1. Is there plenty of conflict?
2. Is the conflict (emotional, physical, dangerous or thrilling) appropriate for the plot?
3. Is the conflict real and believable?
4. Are all problems resolved by the final paragraph?
5. Does the conflict bring about change in one or more of the characters?
Characterisation
1. Does the main character move through the story like a cardboard cut-out, or is he real?
2. Are the supporting characters strong enough to hold their place in the story?
3. Is personality shown by actions and words?
4. Is the attraction, or hatred, between the main characters credible?
5. Do character traits and mannerisms show upbringing, inner turmoil, insecurity, judgemental behaviour and/or compassion?
Dialogue
1. Is there sufficient dialogue to move the story along?
2. Is it possible to differentiate between speakers? Or do they all speak in the same way?
3. Is it easy to sense the character’s anger, pleasure, distress, or other emotion from the dialogue?
4. Are there distracting and unnecessary dialogue tags? Or are they only used if it isn’t absolutely clear who is speaking.
5. If read out loud, does the dialogue sound real?
Point of View
1. Is the point of view consistent? Or does it change from one person to another within the same scene?
Showing not Telling
1. Was the story written in one (telling) narrative?
2. Was the scene set by actions and dialogue?
The Title
1. Does the title fit the story?
2. Is it intriguing, teasing, amusing and/or shocking?
Part Two – What to look for in Non-fiction
The Opening and Closing Paragraphs
1. Does the opening offer a reason to continue reading?
2. Do the opening facts compel attention?
3. Does the closing paragraph summarise what’s gone before?
4. Does it refer back to the opening paragraph, tying up any lose ends?
5. If a humour piece, does it deliver the punch line?
Information Presented in the Article
1. Have the facts been presented in a clear-cut, easy to read format?
2. If technical, has the use of jargon been avoided?
3. Does the level of English reflect the educational standards of the target audience?
4. Is it interesting?
5. Are the facts relevant? Or has the original focus been obscured by unnecessary information?
Tone and Humour
1. If used, is the humour appropriate?
2. Is the tone suited to the material?
Don’t give your work for critique until you’re happy with the content, spelling and grammar, but then be prepared to rewrite the piece where necessary.
After all, at least now you’ll know where it failed to hit the mark, which is much more helpful than an insincere compliment.
© Lorraine Mace 2005
