Skip to main content

Thoughts on Brutal Critique Peers

Are brutal reviewers always good for you? 
Are they more often right than wrong just because they're brutal? 

A friend recently said she had a "brutal critique partner" that could be relied on. It got me to thinking about brutal reviewers in my own experience who were worse than useless and actually destructive. 


We need to keep in mind that the better an ms becomes, the harder such “brutal critics" are forced to scrape and excavate, inevitably focusing on matters of taste, e.g, “I don’t like that character's personality...” as opposed to “I think this point could be made clearer by doing XYZ.” 

Place 10 of these brutal negatives in a room and they'll shred an unpublished novel to pieces, each in their own special way. But if the exact same novel were actually written by a commercial author favorite of theirs, they would not only praise it but compete with each other to deliver the most positive, in-depth insight into the work. Their blurbs would shower Amazon with five stars. Perhaps a "however" now and then, though nothing that could ever approach the brutality of decimating the ms they believed written by an unpublished writer. 

Frankly, I’ve had experience with various coverage types in LA and fought huge battles with them over specific screenplays and manuscripts by writers known to me (two were clients) who they were attempting to annihilate, and I noticed, the more perfect the manuscript, the more vehement and extreme the critique. It was as if the good story and great prose infuriated them and made them all the more determined to find ways to chop at it. Of course, they made their living by using negativity as a substitute for authentic and insightful review, much like certain commercial book reviewers who go viciously negative in order to stand out in a crowd.  
Place 10 of these brutal negatives in a room and they'll shred an unpublished novel to pieces, each in their own special way.
When looking for feedback on a fantasy manuscript I wrote two years ago, I purposely sought out three writers who I knew would rip me a big one (for various reasons), and all three did, but there were no commonalities. I figured that reasonably intelligent writers straining hard to be negative would find an issue if it really existed. It was weird to watch them strive to be as negative as possible over essentially petty things. 

I once sent a very polished ms to some editors in Iowa who I trusted to put the final coat of paint on the top floor. Instead, they shredded the opening chapter of the ms in every inconceivable way. They strained to dissect sentences and nitpick “the real meaning” vs. the words actually used, and in a manner nothing short of bizarre. They even hated italics! Determined to be negative at all costs, the Iowa people didn't say one positive thing about any facet of the ms. When not provided their normal diet of necessary edits they simply picked and picked until they created a series of false negatives. The coverage people in LA, as I noted above, imitated this Iowa group. However, I couldn't help but notice the exact same editors, when courting a client for monetary reasons, fell over themselves being complimentary. Hmmmmmm... 

Conclusion: if you must use reviewers, searched for balanced personalities, and look for commonalities.

Comments

  1. Well, geez, Michael, Iowa.

    ReplyDelete
  2. SandraE7:17 PM

    "You could put 10 of these brutal negative types in a room and they would shred an unpublished novel to pieces in their own special way. But if the exact same novel were actually written by a commercial author favorite of theirs, they would not only praise it but compete with each other to deliver the most positive, in-depth insight into the work."
    So true...

    ReplyDelete
  3. I suspect that reviewers feel they aren't worth their salt if they can't find something "wrong" with any given piece.

    Anyone can read something and say "Great! Loved it!" - but it takes a critical, educated mind to pick out the flaws in a written piece - right? I suppose the more flaws you are able to pick out, the more you display your awesome knowledge of good writing. Your skill as an editor is directly proportionate with how many "improvements" you can tell an author he needs to make... at least I imagine some people think that way.

    Maybe they were just trying to impress you with their incredible skills and knowledge of writing, n'est-ce pas?

    Or maybe, like a bully does, they were trying to push you down so they felt elevated... not realizing it's an artificial elevation. Bullies eventually get theirs.

    ReplyDelete
  4. Good points, Sandra. Thank you. I agree with the fault-finding psychology. It was definitely true for the Iowa group.

    ReplyDelete

Post a Comment

Worthy WE Wisdom

The Six Act Two-Goal Novel

What makes for good drama is a constant. To begin, we combine Siegal's "nine act structure - two goal" screenplay (very much like the Syd Field three act except that the "reversal" from Field's structure joins "Act 5" in Siegal's version) with the Field classic three act. The Two-Goal Structure, Siegal maintains, creates more dynamic plot tension due to the insertion of PLOT REVERSAL later in the story. We concur.  NOTE:  "Plot Point" is defined here as a major occurrence that emphatically changes the course of the story. In the genre novel as a whole, we see three to five major plot points depending on various factors: a first PP that begins the rising action, second PP defined by the first major reversal, a third PP defined by a possible second major reversal, a climax PP, and a theoretical PP residing in the denouement, i.e., we think the story is going to resolve a certain way after climax, but a surprise happens that resolves...

"Top Ten Worst Pieces of Writing Advice" (and it gets worse)

OUTSIDE OF NARCISSISM, IMPATIENCE AND BAD ADVICE ARE A WRITER'S WORST ENEMIES . If you ever attend writer events, you will never cease to hear utterances of bad writing advice, the popular kind that circulate like  ruinous viral memes through the nervous systems of America's aborning novel writers. And each time you are exposed, you either chuckle or swear, depending on your mood and the circumstance. You might make a daring attempt to kill the meme in its tracks before it can infect someone else, or you might just stare at the writer with a dumbfounded look and ask, "Where the hell did you hear that?" Yes, the primal question: WHERE THE HELL DID YOU HEAR THAT? Inevitably, many will point to their writer's group . Ahhhh, of course , you think. Why just recently at an Algonkian event , one of my faculty (a former senior editor at Random House) and I were faced with an individual who adamantly asserted to us both that using only one point of view to write a n...

What Makes a Good Memoir?

By Paula Margulies As a publicist, I'm sent books of all genres by authors interested in my services, but lately I seem to be on the receiving end of a lot of memoirs. I've also spoken to a higher-than-usual number of memoir writers, who either telephone or approach me with questions at writer's conferences. The bulk of these conversations have to do with why their memoirs aren’t selling and what the authors can do to make them better. My first suggestion for all memoir writers is to take a look at their market and identify the different types of people who would want to read their book. This is tricky, for while many memoir writers have done a good job of detailing certain aspects of their personal history, a number of them have not thought about who might be interested in reading what they've written. A lot of memoirs I've seen recently are nothing more than personal recountings of an individual’s experiences – some of which are, indeed, memorable. But I...

Labors, Sins, and Six Acts - Official Novel Writing Guide - All Genres

An ideal first stop... You will discover below a series of scholarly, researchable, frank and indispensable guides to conceiving and writing the commercial genre novel, as well as the plot-driven literary novel. But the cutting edge of the developmental peels and prods as presented makes an initial big assumption, namely, that you are honestly desirous of true publication either by a classic publisher or traditional literary press , and therefore, willing to birth the most dynamic and can't-put-it-down novel you possibly can. Further, you are also naturally desirous of great sets, mind-altering theme, unforgettable characters, and cinematic scenes, among other things. Does that go without saying?   Perhaps, but you must know, it won't be easy. Labors and Sins First of all, the method-based assertions and information we've gathered and elevated before your eyes below will shiver many of you like a 6.5 on the literary Richter scale because it will contr...

Loglines and Hooks With Core Wounds

HOOK OR LOG WITH CORE WOUND AND CONFLICT Your hook line (also known as logline) is your first chance to get a New York or Hollywood professional interested in your novel. It can be utilized in your query to hook the agent into requesting the project. It is especially useful for those pitch sessions at conferences, lunches, in the elevator, or anywhere else. When a prospective agent or editor asks you what your book is about, your high-concept hook line is your answer. Writing one also encourages a realization of those primary elements that will make your novel into a work of powerful fiction.  The great novel, more often than not, comprises two stories: the exterior story or plot line, and an interior story focused primarily on the protagonist, one that defines and catalyzes her or his evolutionary arc throughout the novel. For example, a protagonist with a flaw or core wound that prevents her from achieving a worthwhile goal is forced to respond to a lifechanging event instig...

"High Concept"? Sufficiently Unique? - Write a Tale That Might Actually Sell

Aspire to be a great genre author? So what's your high concept?...  If you fail to grasp the vital importance of this second question, you will fail to conceive much less write a publishable genre novel - thriller, mystery, fantasy, horror, crime, SF, you name it. Just not going to happen. Don't let any writer group or self-appointed writer guru online or writer conference panel tell you otherwise. You're competing with tens of thousands of other aspiring authors in your genre. Consider. WHAT IS GOING TO MAKE YOUR NOVEL STAND OUT from the morass of throat-gulping hopefuls who don't know any better? Believe it or not, 99.5% of the writers in workshops all across the country *do not* arrive with a high-concept story. If anything, their aborning novel child is destined for still birth. They strut forward proudly waving their middle or low concept tale while noting how their hired editor from Stanford, or Iowa, or the Johns Hopkins MA program just "loves it!...