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Your Reviewer (NOT! At least I hope not.)
______________________________________________________________Preparing to Accept Critiques:
1. Leave your ego at the door. Do NOT come to class or group expecting to be praised for every word that you write. The purpose of this class is to help you become a better creative writer, so a little humility will go a long way.
2. Before coming to class, analyze your own work, Using Peer or Self Reviewing a Story as a guideline; that way, you will get an idea of what kind of comments to expect from your group.
3. Write a short paragraph in which you assess your own work-in-progress draft, such as weaknesses and strengths. What do you like best about the piece so far?
The least?
Where are you experiencing the most difficulty in the piece?
What help do you want most from the class?
4. Develop some questions that you have about your piece, Which you will ask your peers after the class has critiqued your work.
5. If you think of any additional questions during the critique, Please feel free to jot them down, but do wait until the class has finished with its critique before asking your questions.
Accepting Critiques: 1. It’s your story or poem. You can choose to accept or reject a critique, for not all peer reviewers exhibit the same analytical abilities. Besides, YOU are the creator, but...
2. Approach the review with an open mind; You never know what stroke of brilliance you might find, even in an awful review.
3. If you are not clear about something a peer reviewer has said About your story, you have the right to ask him/her for clarification, but do this in a polite manner; try not to be defensive.
4. Read Nancy Kress' Writer’s Digest article, “Critiquing the Critics” (see your email message for how to access it), and READ IT CAREFULLY. This October 1992 article is one of the best that I have found on the subject.
5. If you are having difficulties with a peer reviewer, Please see me. Bring copies of your work, the reviewer’s written critique, and your concerns.
Note to Author: This is your story, and, ultimately, you’ll have to decide what works and what doesn’t work. Read the critique carefully, take what you need from it, and ignore the rest. And PLEASE read “Critiquing the Critics,” Writer’s Digest; if nothing else, it will make you feel better if you get a negative critique.
Still, don’t expect constant praise. If you go into the workshop with an open mind, your work will open up to the world; conversely, if your mind is closed to new suggestions and ideas, your work will wither.
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Using the list below, consider the following areas in your analysis:1. Theme What is the story about? You should be able to summarize the story in one or two sentences.
2. Plot/structure Does the story follow the traditional story structure? Beginning ➔ Rising action➔ Climax➔Falling action➔ Epiphany➔ Resolution
If not, does the nontraditional structure work? How is the story structured? (If you can’t figure out the structure, feel free to ask the author.)
3. Conflict Does the story involve a well-defined conflict that makes the story worth reading? What is the conflict? (No conflict = no story. All fiction MUST be driven by conflict.)
4. Beginning. Does that first sentence and/or paragraph reach out and grab you, immersing you into the story?
5. Characterization (protagonist and antagonist; supporting characters).
Does the protagonist, the main character, evolve during the course of the story, or is he or she a static character who does not change as a result of the unfolding events and his/her epiphany?
How might the author develop a better evolved protagonist?
Does the antagonist (an opposing force for the protagonist) create enough of a conflict for the protagonist? If not, how might the author develop the antagonist better?
Are all the supporting or minor characters necessary? If not, who might the author cut?
6. Verisimilitude (Believability) How believable are the plot and events?
Does the overall plot line feel plausible to you, even if the author has written a ghost story, science fiction, or fantasy?
Does the author avoid resorting to cheesy plot devices, such as “deus ex machina” (in which a “god” or unknown force rescues the protagonist at the very last minute, without having been foreshadowed)?
7. Setting Does the setting reflect the mood of the story? How does the writer develop setting as mood?
8. Point of view (POV) What point of view does the story use? Options: first person (“I”); third person (“he” or “she”), singular; third person, limited omniscient (multiple viewpoints, usually two or three); third person, omniscient (all-knowing “God” viewpoint); third person, objective; second person (“you,”not used too often).
Does the point of view seem appropriate? If not, what POV would seem more appropriate?
9. Tense (Present, Past, Future) What tense does the author use?
In your view, is this the appropriate tense? If not, explain why.
Does the author mix past and present tense? If so, ask what tense the author has intended, and mark the lapses with a “9.”
Please note that stories written in the moment (present tense) will often refer back to past events in the past tense, and this is perfectly correct, so make sure that you don’t mark these passages as inconsistent. (Future tense is rarely used in modern fiction, usually in conjunction with the present tense.)
10. Dialogue/Dramatic Monologue Does the writer incorporate dialogue (two or more speakers) or dramatic monologue (one speaker)? If not, might the piece benefit from some well-placed dialogue or dramatic monologue that reveals details about the speakers? Put a “10” where the author might consider developing dialogue and/or dramatic monologue.
11. Scene, Details, and Description Has the author included important story events in scenes that include dialogue, details, and description to show character and/or plot development? If not, mark those areas with an “11.”
12. Summary Does the author summarize parts of the story that, while important, are not important enough to warrant an entire scene? Mark areas that should be summarized. mark those areas with an “12.”
13. Scope Is the scope, or time frame, of the story narrow or wide enough? (One of the most common problems of student stories involves a scope that is too broad, which I refer to “I’m-going-to-start-at-the-character’s-birth-and-continue-until-he-or-she-dies”syndrome).
Think “slice-of-life” for story scope.
14. Language a. Is syntax (word order within the sentence) used in ways that we don’t usually hear or expect? If so, does the unusual structure work for this story? If not, mark “14a.”
b. Is the language direct? Does the author use economy of language as opposed to wordiness? If not, what could be deleted? Mark suggested deletions with “14b.”
c. What kinds of imagery are used? (Imagery = use of the five senses: sight, sound, touch, taste, and smell, as experienced through concrete language). (Mark “14c.”)
d. Has the author used any inappropriate word choices, including wrong words and/or cliches? Mark these words “14d.”
e What passages could be rewritten to incorporate concrete language rather than abstractions? Mark these areas “14e.”
f. What could be suggested rather than told outright? Mark these areas “14f.”
g. Circle any “to be” forms of verbs (e.g., is, am, are, was, were, will, etc.). Could any of these passive verbs be developed into active verbs (in which the subject is doing the action)? Mark these areas “14g.” (Active voice is almost always more powerful than passive voice.)
h. Circle any adjectives and adverbs. Which of these modifiers could be cut? (Mark “14h”)
i. Does the author use appropriate sentence length to develop pacing? (Short, staccato sentences = fast pacing; lengthy, compound/complex sentences = slow pacing. In short, an author can manipulate pacing via sentence length. Authors often use sentence length variety to reflect changing pace within a story.) Mark inappropriate pacing with “14i.”
15. Surface Areas: (Punctuation, Spelling, Grammar, Mechanics) In dialogue or first person narrative, the writer may be intentionally suspending the rules of proper English. If so, ask the writer about intent. Ultimately, is the result successful?
16. Peer Narrative a. In some detail, discuss overall STRENGTHS of story.
b. In some detail, discuss overall WEAKNESSES of story.
c. In your opinion, what are the most critical areas that the author should be working on?
Note to Reviewer: When critiquing a story or poem, please tell the writer what you like about the story and then give him/her some specific and constructive ideas for improving areas that could use some improvement.
Be honest, and tell the author what you think he/she needs to know, BUT use positive and encouraging language.
However, don’t overpraise the story or poem because, ultimately, false praise will not help the author write better.
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These guidelines pertain to ALL creative writing, not just fiction:1. Read
Read through the story or poem once before making any comments on the peer sheet or manuscript. For this first reading, you are simply reading as if you were picking up a magazine or short story or poetry collection--in short, a casual reading.
2. Think
Take a few minutes to think about what you have just read.
3. Write
On a separate piece of paper, jot down your overall impression (which you MAY or MAY NOT be sharing with the author), e.g. “I don’t like stories or poems about baseball, so I didn’t like this one” OR “I didn’t like the grandmother as a person” OR “I just love the religious overtones of the piece.” The idea is to get past “personal biases” and “agendas” and get on with offering the author a fair critique based on craft, not personal tastes on the part of the reviewer.
4. Reread
Read the story or poem again, this time, as you read, jotting down comments on a separate piece of paper. If you discover that you don’t like the story or poem no matter how many times you read it, try to figure out WHY. For example, does the story or poem need technical work, or do you have a personal aversion to style, a character, theme, etc.? If so, let the writer know about your biases.
5. Answer Questions
Now look over your notes and answer the questions from Peer or Self Reviewing a Short Story.
6. Write a Constructive Critique
Write a constructive critique of the story. You may jot down notes on the author’s manuscript.
Begin your critique by accentuating the positive.
When discussing weaknesses, do so in a spirit of professional respect and a willingness to be helpful. Be honest, but write in a thoughtful and considerate manner--the way that you would want your work to be critiqued. And give the author your best shot!
7. Offer the Critique to the Author.
When you are finished, distribute the critique and story to the author.
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Links to Various Readings, Notes, Exercises, Handouts, Prompts, etc.
