How to Take a Critique on the Chin

By Maureen Lynas

There are two types of critiques, the face to face, the report that lands on the doormat...

There are three types of critiques, the face to face, the report that lands on the door mat, the online supportive group of friends...

There are four types of critiques... the first three plus the online site where no one knows anyone and you get a message that says, I'll critique yours if you critique mine and can I be on your bookshelf, I'm slim at 20 thousand words and my cover is gorgeous. And I'm cheap to buy.

There's probably more.

But how to cope, how to take the knock when it's face to face? Because it will be a knock. There will be something wrong. There always is. Why? Because you're asking people to CRITICISE! So, people, being kindly folk who like to please, will do as you ask.

Let's take a closer look at The Face to Face

We have a habit in our face to face SCBWI York and Middlesbrough groups of critiquing anonymously or pretending we don't know who's written the piece.

Why?

Because two things happen when an author is being critiqued face to face.

One – the author defends their work – Oh, but I meant this. Or. But you don't understand, he does that because he fell over when he was six and trapped his nose in the drain cover. He's ultra sensitive about the size of it.

Two – the critiquers address the author directly with solutions. I think you should add in three more characters, move the whole thing into space, and get rid of the drain cover. It just blocks the characters POV.

So, number one – the author defends their work. But why would you?

This is your baby, this is something you have poured yourself into, sweated over, checked and re-checked so even letting someone else look at it is a major accomplishment and deserves chocolate. As silence descends and the other authors read your work you sweat a bit more and secretly scan their faces for a flicker of a hint of interest. Was that a glimmer of a smile? A raise of an eyebrow? Then papers are shuffled and the critique begins.

You glow under the obligatory first layer of the critique sandwich. 

The 'say something positive' first layer of wholemeal bread.

You sag and deflate under the Marmite/mustard/difficult to digest layer of tough criticism.

Then you glow again (hopefully) as another layer of wholemeal is slapped on top. 

If you can stay silent during all of that then you are a star! And it's very important to try. Because these are just opinions, just what a group of people think. But, if you listen hard you'll see that although everyone will have different opinions some of them will match. And it's these that are the important ones. If you jump in to defend, you'll miss them.

Make a note of what's said, it'll give you an excuse to look down. Think about the comments. Forget about them. Remember them. Think about them again. Do you agree with them? Do they have a point?

Analyse them – are they subjective or objective? Focus on the objective ones – I don't know what the character's goal is. The protagonist doesn't make his own choices. The use of that particular metaphor is inappropriate.

Coping mechanism - Pretend this is not your work. Forget the protagonist is based on your son. It'll make it easier if they don't empathise with him. Forget the time spent writing the work and focus on the learning that has been gained through writing it. Focus on the insights the critiquers are giving into the craft of writing. Focus on what would you say about the work if it was not your work.

Number Two – the critiquers address the author directly with solutions.

It's so tempting for a critiquer to come up with solutions. And they can be useful to you. But it isn't their job to come up with all the solutions. That's your job. The critiquer is there to point out the good and the bad. 

So what to do if your group constantly tells you how to cure your plot, beef up your character, and inject a bit of humour into your dystopian darling. Before the crit begins ask them to focus. Give them a job. Please can you comment on how I've used food to define character. What do you think about the introduction of the antagonist, is he bad enough to hiss at? Have I deepened the relationship between the squid and the jellyfish, is it believable?

Coping technique – write them all down, all of the ideas. Then put them in the bin when you get home. And probably one of them will stick in your head and trigger an idea of your own. And that will be the best one. Use that.

Good luck and don't forget to avoid this at all costs.

Maureen Lynas also blogs on her own blog which she creatively named - Maureen Lynas

Pitching on the Elevator

A quicky today.

Watch this



Then read this ...

(I'm a published author now - yeah, yeah - but Nicola Morgan's refresher on pitching will be useful, whatever stage of the game you're in)

Back to School with A Writers Skill Sharing Day in Birmingham

By Addy Farmer

schools - gotta love 'em

Let's imagine, just as an example, that you have one chapter book and one picture book published and another coming out in 2012 with say, Frances Lincoln (hem-hem). Let's also say you want to go into schools to supplement your meagre income. So far so good but then come the challenges:

• As an individual, it's tough-going building up relationships with lots of schools
• Schools are cash strapped
• Once you've got a gig - how do you stand out so that you're not just become another teacher?

With all this in mind, a Schools Skill Sharing Day run by the National Association of Writers in Education – NAWE, seemed to be the way forward. The idea behind this was to offer a peer-learning opportunity for writers working in

schools, to discuss the challenges and avoid the pitfalls.

As about forty eager writers from all genres gathered in the auditorium of the South Brimingham College, it became clear that the first obstacle to be overcome was the life threatening 'safety ledge' on the front row. 


Luckily only two people nearly died and the day began with a welcome from Jonathan Davidson, Head Honcho of Writing West Midlands and all round Arts Supremo.

The workshop sessions were varied and ranged from, 'Working with Children with Special Needs' through to, 'Digital/Interactive Writing'. 


Within each session there were opportunities to share experiences and learn from others. Did the conference address my questions? Well yes and no.

The most stimulating session was run by Roz Goddard about 'Maintaining Identity as a Writer'. The discussion she facilitated, led to fresh thinking about finding work in schools and in a way addressed all of my questions.

Maintaining your writing identity

Ask yourself – what image do you see when you think of yourself as a writer? What does it say about you as an author? This is your identity and it is your Legacy. 


Your originality as a writer is what schools will want and more importantly what children will remember. Children's writer, Juliet Clare Bell, tells how Alan Garner paid her primary school a visit. He talked about his work and his stories and she vividly remembers the excitement of a published writer coming to speak, of the aura surrounding him. He left his imprint behind and yes, she read his books.

All very well but how does this work in practical terms? Well, the best sessions are those which demonstrate the sort of writer you are. Be personal, show your manuscripts, your mistakes, corrections. Share how the story evolved. Get your book out. Let children ask questions. Maybe it sounds blindingly obvious but children will want to remember you and not a lesson on writing given by you.

Leave teachers with a sustainable model which will act as your legacy. Short of them adopting you, you might suggest a few excercises which you use to hone that massive imagination muscle e.g. finding the extraordinary in the ordinary – a stone, a hat, a ruler or asking the children to spend ten minutes every day writing down ideas. 


What about lunchtime clubs that you can contribute to every so often. And then, why not offer up original writing? Alison Prince wrote 'The Summerhouse' in conjunction with the children of a Lincolnshire primary school. How brilliant is that?

You can share your writing discoveries not just deliver them.

Building your business

It's a tough, cash strapped world out there. With funding gone for excellent initiatives like 'Creative Partnerships', competition for work in schools is keen. You may well have excellent contacts with a few local schools to build on but how sustainable is this?

Collaboration can be the key to building your business. There's strength in numbers of writers all gathered together in a single easily accessible database!

Here are a few places for you to check out:

• Your Local Authority - you may be lucky enough to live in an authority where the school improvements advisers have not been axed – in which case, give them a go but beware they may still charge.

• Contact an Author – a wordpool site. This is open to published writers and illustrators only.
• Regional groups like Writing West Midlands/New Writing North/Writing East Midlands - go research!

The SAS

tough crowd but they'll get you into schools

• The fabulous SCBWI offers its members a Contact a Speaker listing and this is going to be even more fabulous in the future (contact me if you want to help develop this!)
• NAWE – of course.

Next time, you can read some advice from top authors who go into schools on a regular basis. It can be done! In the meantime - write long and prosper

See the happy author!