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Perhaps you have been following the debate on the merit of creative writing courses in the Guardian recently (http://www.theguardian.com/books/2014/mar/14/creative-writing-courses-advice-students). It’s a long-running debate and there are valid arguments on both sides. But what interests me at the moment is the value of criticism in creative writing classes – and this goes for criticism in informal writing groups, too.
Personally, I love criticism. I’m greedy for it. I know how hard it is to find someone who can give honest, constructive criticism – criticism that makes you suddenly see the wood from the trees, makes you realize that what you were never quite happy with is just not good enough, and can ask questions in ways that leads you to answers you didn’t know you were looking for.
As writers, we’re standing inside our stories, so it’s difficult to know how they look from the outside. As Kathy Lowinger says, ‘Get your work read because you can’t see yourself dance’. An outside perspective can be invaluable – and offers insights that you wouldn’t get otherwise.But - having been a member of many writing groups, and a teacher of many creative writing courses, I also know how damaging criticism can be. I come across students who are afraid to read their work in case they receive a negative comment that makes them want to give up (and in this case, I tell them, ‘don’t read’). I come across people who were criticised as children for their creative efforts and were told they were ‘making a mess’ or weren’t ‘doing it properly’ . Needless to say, they haven't tried it since. And I come across writers who want to offer up their work for criticism, but only want positive feedback and defend their work against the slightest criticism.
So I suppose I have concluded the following: - A writer shouldn’t share their work until they’re ready for criticism and can take it or leave it without being mortally wounded. This is usually possible only after some time has elapsed after writing it.
- A writer should say ‘thanks’ for the feedback they receive, and nothing more. Then they can go home and decide what to do with it. If a writer tries to defend their work, the people giving feedback will quickly stop bothering.
- When giving criticism, try and restrict it to the one or two main issues – don’t go on and on.
- Try and give other writers the feedback that they are ready for. We can’t judge everyone by the same yardstick – and when I think back to what my writing was like when I first started, I cringe. By working to our strengths and strengthening the positives, the negatives often fall away all by themselves
- But even when giving feedback to experienced writers, don’t forget the positives. We all like being reminded of what we do well.
http://www.heatherdyer.co.uk
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On Sunday Susan O’Keefe wrote an article on what it is like on the other side of the fence at a First Page Session. Today, Eileen Robinson has sent two tips to creating An Engaging First Page. Then I throw in things I have observed while in First Page Sessions.
Though my workshops didn’t include the ones conducted by Eileen, I did have the pleasure of her company for a while before the faculty dinner began, and she is SUCH a warm, lovely person! It was nice hearing tips from her here
This year was the first time I’d ever participated in a First Page Session, and I also facilitated it, which meant I was the one who had the honor of reading aloud each person’s first page. The two editors made WONderful, insightful comments about each one, never being insulting, but being straightforward at the same time.
My having been the one to read, I wasn’t sure if I would do the pages justice, but most of them were easy enough to read. There were a couple of things that surprised me, and Kathy having made First Pages the subject of the past couple of blogs, I thought it would be good to mention these things here because they are very important points for anyone who is not aware of them:
One person didn’t follow the “first page” guidelines that were put out there by Kathy, both in an email just prior to the conference, and that had been on the NJ SCBWI website for months. The guidelines are stated VERY clearly: do not include your name (or any personal information), just the title and age group, 1″ margins all around, 1/2″ indents and double-spaced. What this person handed in was the first page of the manuscript as if submitting to an editor or agent, with all personal info and the text started mid-page. Not only was the opposite of guideline stipulation, but only half the text that could’ve been included was there. This also shows the editors the inability to follow guidelines.
The second page that surprised me was filled with typos and mispelling. It was as if someone rushed a first draft and left it that way without checking for ANY mistakes. Not only did it cause me to stutter and have to repeat the text where the typos were, but it is very unprofessional. If someone’s looking to positively impress an editor or agent, this is the opposite of that. Hope this helps
Donna
I had the pleasure of dining with Eileen at the faculty dinner, and can say that she is truly a delightful, energetic, positive and fun person!
Ack! the dreaded First Page. I must have over a dozen of them for the same novel. One comment I got was that, because of my MC’s atypical first name, the editor didn’t know the sex of the character. And now Kathy, you’re also saying we need to know the age. That information is revealed in the first chapter. But the First Page? So hard to do naturally.
During my intensive, first pages of a novels were read as good examples. But one popular novel, which is over 30 years old, sounded like a big info dump to me. It is such a fine line.
When I first was learning about MG novels, I would type the first pages of each MG book I read into a single file. I should go back to doing that. I like that on Amazon you can read the first page of most novels–it’s a great, free resource.
Eileen did my 15pp critique and she has great enthusiasm and insight! : )
Wow, Mary, I love the idea of typing the first pages, and I never stopped to think about Amazon that way. Excellent tips
Thank you!
And I’m curious as to which novel had a first page “information dump.” Can you please reveal it to us?
Donna
Great post, Kathy! I loved Eileen’s energy and attitude at the conference! I unfortunately had to miss most of part 1 of her workshop — might be a good idea to consider her workshop for an Intensive at next year’s conference!
All good stuff. The first page can be such a challenge, sometimes. I think all we can hope for is finding the right pair of eyes for our stories. I remember from my cw class last year how often classmates would oppose each other on points in stories and beginnings and endings. Some would like beginnings and be hooked by them, while others would say not for them!!
Donna, I just did a little research and found out the example was not the FIRST page, but a paragraph from somewhere else within the book. It was used as an example of using “detail” in voice. . So ignore my above comment.
Ah, OK…gotcha
Thanks!
Donna