PLAYING WITH FIRE

(ie Critique Groups)

by Karen Elizabeth Rigley

One of the hottest situations a writer encounters is critiquing another writer's work. It's a common way to get burned. How can such an innocent act cause trouble? Easy. Writers are as sensitive about their manuscripts as mothers are about their children. Explosive, in fact.

Remember how inflamed you felt when you read that last reject from an editor? Now think about coming face to face with that same editor; except it isn't really an editor -- it's a colleague, a writer who may or may not be published equal to you -- a friend, you thought, until you got back a rude critique longer than the manuscript itself.

Most writers truly want to improve their work. A critique can target passive verbs, discover a hole in the plot, weak characterization, or offer a final proof-reading. Effective critique methods depend on individual needs. To some writers every helpful comment turns into a match thrown onto the fire, but nurturing the good not just finding problems can increase flame resistance.

Yes, some authors exchange critiques without chopping egos into easily lit tinder or smoldering opposing views into flames of resentment. How? It requires tact, professionalism and rules for fireproofing:

(1) Beware of extremely flammable situations:

(a) Writers with high sensitivity levels

(b) Crudely given criticism (it benefits no one)

(2) Remember opinions differ:

(a) When critiquing you're offering your own opinion and your way is not

the only way

(b) What one person hates; the next might love

(c) What one genre or subgenre demand; another might not tolerate (Same

with editors)

(3) Basic editing and grammar must be tempered with familiarity for the type of

manuscript.

(a) If you're a contemporary romance author, intrigue author or mainsteam

author, that does not qualify you as an expert on historicals

(b) Research and read the type of books you critique, so you develop a feel for it

(4) Point out the positives, not just the negatives.

(a) It's important for a critiquer to acknowledge great dialogue, vivid description,

or an author's ability to evoke reader emotion.

(b) A writer must learn what works as well as what doesn't work in a manuscript

(c) A critiquer should encourage and nurture strengths

(5) Every writer is unique. Technical advice is fine, but don't impose your writing

style on another writer's work.

(6) If you play with fire you might get burned, so exchange manuscipts with writers

you trust.

(7) Douse flames with diplomacy before there's a flare-up.

(a) An angry writer won't listen

(b) Sometimes writers' instincts are more important than rules

You may discover your own writing improves as you critique the work of fellow authors. Be brave and exchange manuscripts with your peers, because it's great to listen and learn from other writers. Use encouragement to temper criticism.

Maybe no critique is fireproof -- but it's worth the risk.

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