Elements of Critique: Perspective

Elements of Critique: Perspective

Now that the A-Z blog challenge is done (thank God!), I thought I’d return to the theme I chose in order to cover three aspects that came up during the month of blogging. I’ll hit on perspective, participation, and planning, so that with the A-Z plus three posts, anyone could in theory organize and run their own critique group.

Three more “P” posts, for the price of none.

One of the keys to good criticism, noted in my ‘C’ post, is that it’s constructive. Critique is not about tearing down a fellow writer until they put up their pen or delete Word from their computer. It’s about working together building ourselves up into the best writers we are capable of becoming.

With any construction project, there are plans and considerations. Some of these will involve the overall style and aesthetics of the future building. Some will involve the math and physics required to ensure stable and lasting architectural integrity.

The math and physics are going to be objective – not contingent on anyone’s opinion. Will a support of such size hold up a roof of such weight? Will a foundation only so deep be able to bear the load of a building with so many storeys? There are equations involved, and these have to follow the rules of math in order to determine correct answers.

The aesthetics are subjective – open to interpretation and based in opinion. These probably involve the input of a designer and the owner. Will a large open welcome center suit our purposes? Would the project be better with a more curved appearance to the structure? Does the design suit the intended purpose? There’s no math for this.

Critique is exactly the same. But to offer good critique we need to understand the difference between what is objective and what is subjective. How we offer advice changes based on this distinction.

“I feel like perhaps some words are missing in this sentence, and it’s just my opinion but you seemed to jump from past tense into what felt like present tense, so maybe that’s a problem?”

I might as well say “Well, you know, I feel like two plus two kind of equals four.”

There’s no need to be overly careful about rules of grammar and punctuation. If we lack confidence, we can do a touch of research and make sure we’ve got the right idea about how the items in question should be formatted or used. Then we can speak objectively – with authority – about the use of a particular punctuation mark, breach of point of view, or format of a sentence.

Of course we cannot present objective critique in a cruel manner. We’re there to build up, not tear down. But if the math is wrong and the structure is inherently flawed, the building will collapse without corrective action.

So if I have the time to do a good critique, I will not only mark something as wrong but provide an explanation or reminder about what’s proper, based on objective rules. I may also present a helpful method for finding errors before submission.

When I do this, I take into account that the solution I see may not be the only option. And since I’m offering possible solutions, this is where my subjectivity starts to come in. “You could separate this into two shorter sentences or use a semi-colon to link the two parts. I’d suggest…”
This is where we start getting into the design of the building. What will look good? When talking about our writing, however, we each have an individual voice or style we follow. If my critique of someone’s writing turns their piece into my voice, then something has gone wrong. I want to savor and enjoy the distinctive “design” of their piece, so I tone back and make subjective suggestions in areas where no true rule applies.

We can’t critique tastes like a math teacher grading a paper. What I see as an awkward sentence may not be to everyone else. My thoughts on what is subtle or what is “authentic” dialogue, my take on whether a hook works well, these are subjective things. When a particular phrase seems weak, or I think something might be clearer in a different order, that’s my opinion.

I have to take into account my familiarity or lack thereof with the writer’s intended genre or audience. My style and tastes might not fit what is expected of their kind of writing.

Our writings are our babies, our darlings. If I say the baby’s ugly, then that puts the writer on the defensive. Defensive ears are notoriously unreceptive to advice. And while I could hope that everyone would be humble enough to receive input from even the most insensitive source, the fact is, we shut down or start to argue our side when we feel our writing is under attack.

So I try to offer my subjective input as an encouraging suggestion, expressed as “just my take on this,” or “this is what worked for me.” I won’t state my opinion as a fact like “this is a mistake you must correct.”

Recognizing the difference between what’s objective and subjective permits me to sound authoritative and encouraging at the same time. Hopefully that keeps defenses down and allows the writer to get the most from the critique.

Of course, we as critiquers can only do so much to communicate helpful feedback. The recipient has to be willing to receive. That’s the subject of the next add-on post: being a good critique group participant.

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