Category Archives: sherry wilson

How to Take a Critique

by Sherry Wilson
Taking a critique can sometimes be difficult for those of us who toil in private for a long time, churning out work and not really knowing how it will be valued by others. Giving up your work for critique is difficult, and receiving a critique with dignity can be challenging.


If your story is the subject of a live critique, you have a great advantage. You’re going to receive immediate, honest feedback on your story. That is a privilege. It can also be hard to take. Most of us would like to bury our heads in the sand at this prospect.

I remember my first live critique. It was at a writer’s conference, and I was so nervous I’m surprised I didn’t pass out in the chair. Time was short so she concentrated on what would make the story better and she didn’t pull any punches. I felt like I’d been a few rounds in the ring by the time it was finished. It was probably the longest three minutes of my life.

It is difficult to take at first, but you do develop a thicker skin rather quickly. The most important rule to follow when receiving a critique of any kind, but especially with a live critique—do not argue.

As soon as the writer starts arguing with the person giving the feedback, all feedback stops.People will give you their opinion until you argue about it. Then they won’t bother anymore. As hard as it may be to take, you have to realize that what they are doing is a true gift. You cannot argue with readers once you have sold your work. They will interpret your story in their own way. You can’t control that. So you shouldn’t try to control the feedback from your audience either.

If the feedback is given in an on-line group, it is inevitable that you will receive an upsetting critique at some time or other.The distance of on-line relationships and the mood fluctuations of people will no doubt cause some to send off a hasty critique.

When this happens, do not write a note back arguing with the critique.

Really, don’t do it.

Let it sit for a day or two to gain a bit of distance and then re-read it.

Yes—re-read it.

You don’t have to agree with it. This is one person’s opinion, and that is all it is. But you might as well get something out of it.

So re-read the critique with an eye for what problems the person saw in the manuscript. You may not agree that these are problems, but you will see that there is a reason the person stopped there and made a comment. Perhaps they misinterpreted what you were trying to do. You may decide not do as they suggest, but you can see that you need to make your intentions clearer in that section.

Often, just the distance of a day will let you see that, while the critique might be a bit rude or brusque, there is something to be gleaned from it.

If you are paying a professional for a critique or an edit, you should find that the communication is professional and framed in a positive light. The editor should tell you what you’ve done right as well as point out any problems and give you suggestions on how to improve the story. But there is the occasional editor who will be more negative with his critique. If this happens, again, don’t argue.

If you don’t understand something, it’s perfectly fine to ask for further explanation.

If you can’t figure out why he made a certain comment, ask for clarification.

But don’t argue with him about it. You paid for the editor’s help and you want his opinion. You don’t have to agree with it.

In fact, receiving another critique from someone else can be a great help to you. It will show you which points really need to be changed and which are more a matter of personal taste.

If two individuals make the same point, you should look closer at their suggestions.

You need to develop a thick skin. That only comes from being subjected to critique repeatedly. Being able to use the critique to improve the work is the most important thing in making it. That is how you get better. The writer who gets published is the writer who perseveres.

Ellipsis vs. Dash Usage in Fiction

by Sherry Wilson

The question I get asked most often by writers is whether they should use a dash or an ellipsis. This is also something that I often see misused in fiction—sometimes even in published fiction. Once it is explained, you’ll find it a relatively simple concept.


The Dash

The dash is a very useful tool when writing fiction. It can replace commas, parentheses or colon and is more informal in its usage. The dash can be written as two hyphens in a row–like this or as an em dash—like this. Your word processor might convert the two hyphens to the em dash automatically as you type. There are no spaces before or after the dash.

A dash can show a shift in thought or to set off an important element in a sentence.

Examples:
She laughed—a knowing sound—and leaned back in her chair.
For the most part I’m happy with it—or at least I was.

You can also use a dash in place of a colon to make the text less formal.

Example: He liked to play instruments—guitar, violin, piano, and trumpet.

A dash can be used in place of parentheses.

Example: The whole class—about thirty students—received brand new instruments.

The dash is a very useful tool in your writing, but should be used sparingly. It draws the eye and thus emphasizes a phrase in a statement. But if there’s a dash in every sentence, then it loses its effect.

Ellipses

I often see ellipses misused in fiction—sometimes even in published fiction. The ellipsis does not show a break in thought. It is used to show a thought that trails off and is left unfinished.

Example: I remember that day back in May… Well, it isn’t really important.

There are no spaces before the ellipsis. You leave a space after the ellipsis when it begins a new sentence.

The other use for the ellipsis is in quoting from something and you only want to use part of the source. If you leave out something in the middle, you use the ellipsis to show that something has been left out.

Example: “To be, or not to be: that is the question … Be all my sins remember’d.”

Ellipses are rarely used in fiction. If your character’s words trail off as he notices the tornado heading straight for him, then you’ll need to use an ellipsis. It is a useful tool when used sparingly.

Okay, grammar lesson is over. Back to work . . .