How to Do a Writers' Critique:

Tips On Getting Started

• Keep in mind that the purpose of the critique is to give the writer feedback—helpful feedback that will make the writing better. "That's nice," or "It was good," won't accomplish much of anything.
• Don't focus on what you don't like; it's helpful to no one and can cause hurt feelings. Your job is not to focus on you, but on the writer and how you can help.
• As much as possible, recognize your own preferences and choices and keep them separate from the writer's while you're doing the critique. If you can't keep you biases out of the critique, own up to them.

Do a Reader's Read Through

• Read the selection first, straight through as a reader, without editing.
• After your first reading, write down your general impression from a reader's perspective. Did it make sense? Did you enjoy it? What parts gave you problems or brought up questions? What kind of reader would enjoy this piece?

Begin Your Critique

• The second time through, read as a writer. Use your red pen to make notes right on the manuscript.
• Begin with preferably three positive overall comments. Be specific!
• Give mechanical and technical comments and suggest changes. Following is a checklist to guide you:
• Grammar
• Spelling
• Punctuation
• Fragment Sentences (Many writers use fragments on purpose. Determine if the use of them is effective in the work you are critiquing.)
• Unclear or confusing sentences, misplaced modifiers, etc.
• Overused words (that, the, and, etc.)
• Overuse of adjectives

Fiction

• Point of View lapses or excessive switches (most editors agree some POV shifts are good and necessary. You may express your opinion about the ones in the selection you are critiquing.)
• Dialogue tags: Too many "said's"? Words used as dialogue tags that are not speech (smiled, shrugged, slumped, etc.)
• "LY" words: overuse of adverbs instead of powerful verbs and nouns
• Stilted dialogue
• Telling instead of showing, explaining instead of showing

• Inconsistencies in story line or characters, such as a sudden name change, inaccurate historical detail, date discrepancies, actions or dialogue that seem out of character for a certain person
• Unclear narration or internal monologue
• Clichés or quick fixes
• Stereotyped characters
• Preachy message
• Melodrama
• Non-believable plot devices: things that appear to happen more to move the plot along than as a natural outgrowth of the story

Nonfiction

• The lead or introduction clearly states the theme.
• The lead or introduction is strong and unique; it compels the reader to read further.
• The lead or introduction clearly introduces the main ideas.
• The main ideas are introduced consistently throughout the piece.
• Supporting details are presented throughout and support the main ideas.
• The conclusion sums up the points made in an interesting, thoughtful, and unique manner.
• The writer's own voice and style is evident throughout.
• The title is clear and informative.
• Any additional pictures, diagrams or drawings add to the piece rather than detract.

Finishing Up

• Give any other comments or questions you have, especially of a constructive nature.
• End with at least one more specific, positive comment.

How to Receive a Writer's Critique

• Ideally, a critique should help you write what you want to write.
• Always consider the writer doing the critique: What kind of writing does he/she enjoy? What kind does he or she produce? Remember that writers tend to critique from an already slanted perspective.
• Pay attention to the problems your critter points out in other writers' work‹you may see a pattern.
• When someone suggests changes, make sure you get specific information as to why they believe the changes should be made. Don't settle for vague answers.
• Ask yourself: Do these changes inspire me? Do they make my writing stronger? Do they blend in with what I've already written?
• If the changes don't inspire you or otherwise don't appear to fit into what you're writing, ignore them.
• Remember: Any suggestions offered by a critter are just that—suggestions.

Critiques

Before the Critique

• Each week individuals will have an opportunity to submit their writing either at the meeting or as an online submission through our email list (see Membership on page nine). Everyone who wants a critique will get one, but not everyone will have his or her work critiqued each week.
• Work should be submitted in the format outlined by the facilitator.
• Copies of submissions will be handed out to the members or sent to them via email no later than two weeks before the next meeting.
• Members will do a "red line" critique on each submission and return to the next meeting with that critique. Specific information on ways to do the critique will be provided.

At the Meeting ­ Doing the Critique

• The author will have an opportunity to read his or her writing.
• When the actual discussion of a piece begins, the facilitator will solicit comments and/or suggestions from each person participating in the critique.
• Every critique should begin and end with specific, positive comments.
• No critique should be offered to the author without constructive criticism.
• The focus should be on helping the author strengthen his/her work.
• Be specific. Comments such as "Good job!" or "I don't care for this," should be kept to a minimum. It is better to explain what you liked or did not like about a particular section. Examples: "I like the way you incorporated dialog into this scene." or "This sentence strikes me as awkward, perhaps you could reword it by sayingŠ"
• Criticism is to be given without the use of unnecessary disparaging or belittling comments.
• Individuals should take care not to dominate the discussion.
• All members should be ready to offer their comments and suggestions at some point during the discussion.

At the Meeting ­ The Author's Role

• The author may not respond to comments or defend his or her work during the critique.
• When someone suggests changes, the author may ask specific questions as to why the changes should be made. Don't settle for vague answers.
• In considering the critique afterwards, the author should ask the following questions: Do these changes inspire me? Do they make my writing stronger? Do they blend in with what I've already written?
• The author should remember that any suggestions offered are just that—suggestions.