NANCY'S PAGE

January/February 2013

THE ART OF A CRITIQUE

Revised from Nancy’s Page article November 2010

Nancy Thatcher Cerny

Life is filled with many events that can freeze a person with fear. Your own creative work being critiqued is one.  Critiquing someone else’s writing is another.  Either is comparable to a walk through the woods, knowing there is a bear in there somewhere, and hoping it doesn’t want to eat you alive.  Palms sweat and stomachs churn, yet, to succeed as writers, critical information, instruction and insight is essential to honing writing skills and forwarding writings from keyboard to publication. 

Pam Webb, in her theWriter magazine article says, “Manuscript consults at writers conferences can make needed repairs, polish the work, force better pitches – and let you know it’s time to kill off a lead character.” It helps to remember the writing is being critiqued, not the writer personally. So, after suffering the pain of stings and amputation, with the help of a capable critique professional, a writer can leave educated, empowered and elated.  It is like the clay pot that becomes Dresden china porcelain only after it has been kiln fired.

Published writers solicit critiques.  It is not uncommon for a writer to feel defensive and want to explain oneself.  Yet, the critique can become the positive turning point in a writer’s career.  Those who have had positive experiences advise writers to listen and take note of everything – and let them sink in for a few days.

Critiques are time limited, so be prepared.  Have your manuscript in its most ‘finished’ state after revisions and proofing prior to a critique appointment.  Be sure to have met any requirements.  Determine in advance whether your purpose is to ‘showcase’ examples of your writing strength or to review a problem area in which you are requesting help.  Bring extra copies, additional page or chapters as the person/s critiquing might be willing to review them later.  Be sure to listen without explanation or excuse.  All critiques are subjective.  Only the writer is responsible for his or her manuscript.

Melanie Faith, author of “The Art of the Critique” offers five tips for writing group members giving feedback to fellow writers’ works.  She says feedback can be frustrating and exhilarating and warns that you will have to return the favor by critiquing the work of other writer-group members so that critique guidelines are vital to both author and critiquer. 

Writing groups/critique sessions may differ.  Some welcome the entire group population to read, comment and scribble notes all over the critique pages – as each submission has no more than ten minutes for review by the group.  Smaller groups (four to eight) meet for the purpose of critiquing one another’s work in a more intense fashion – usually as a book or in-depth piece is ready for a ‘last’ review before publication.  These groups may meet several hours once or twice each week solely for the purpose of critiquing.

There are critiquers/readers sensitive to the ‘flow’ and pace of a story while others recognize effective character development, behavior, historical/geographical background, plot or story line while some may focus on words, grammar and punctuation.  Here are Faith’s five tips:

1. When in doubt, read, read, read and then summarize.  Reading through more than once helps to feel the pattern of a piece.  The writer needs to know what comes across to a reader.
2. Follow a praise / suggestion / praise model.  It is kinder to couch comments in positive feedback first, followed up with the critical observation and suggestions, then a positive summary.  Studies show the mind remembers most vividly the first and last pieces of information presented in a series.
3. Avoid personal judgment. Your job is to study the writer’s work at the level of language and story presented.  Are words used effectively? Were there elements that didn’t fit holes to be filled or repetitions? A writer can develop whatever character/s desired and fit them into history, but history is history; it is what it is.
4. Phrase your criticism carefully.  Obviously writers join writing groups to improve their writing and assume others do the same.  While you are not responsible for tender feelings or unrealistic expectations, you’d do best to consider your own reaction to a snippy teacher’s comment or unkind commentary from peers.  While the manuscript may be far from polished, one would never go into critiquing to slash and scalp the writer – remember the Golden Rule.
5. It is for the writer to accept or reject critique suggestions.  It can be frustrating to think you know the perfect ‘fix’ for somebody else’s character, scene or plot but this is not your piece.  Critiquing is a process of offering advice, reaction or suggestion for the benefit of the writer.  In the end, the writer’s tone, style or theme may different from yours.  Your job is also to recognize what works.  By combing through somebody else’s writing so carefully, you invariably gain a new understanding of your own writing.

Centainly one can review another’s writing based only on personal reference, preference and experience.  Reading and writing norms have changed over the years but one standard remains: Writers must present information in terms that are interesting, enjoyable and informative – or there will be no readers.  Best wishes to all!

Seeds of Hope  09Nov11/24Jan13   ntc \

WRITE READING FOR WRITERS

by Nancy Thatcher Cerny

The first rule of writing is to read, read and read some more.  Certainly there is plenty written, demanding our attention every minute of each day from the  list of ingredients on a cereal box to the school closings ‘crawl’ on the television.  If you are a ‘writer’ looking to be an ‘author,’ you will want to know about latest trends, opportunities and information available. 

Two publications top my list of reading:  The Writer of Madavor Media in Quincy MA (whose motto since 1887 is helpful, interesting and instructive) and Writers Digest of F + W Media, Inc in Cincinnati, OH.  Both magazines are available at bookstores and public libraries.  Each issue alerts writers to the latest trends, expectations and successes of writers whether in poetry or prose, whatever genre, for newspaper, magazine, stage, blogs or books. 

Time is well spent with these magazines whether you are new to the craft or a published pro.  Certainly writers, even those with a secure niche in one genre, do migrate, successfully, to another.  Author Tom Brokaw comes to mind as he was a journalist before publication of his book The Greatest Generation.  It is not uncommon for short story writers, poets and columnists to publish collections of their works into a book.  Playwriting is a unique, or so it seems, with a specialized written format and route to publication.  Writers seem to test their skills in contests.  I know one man who has tested his skills by writing in every contest genre – and taking many, diverse prizes, too. 

I Blog.  That’s about as far as I care to extend my writing - unlike blogger Julie Powell.  Although I could be up for the fanfare and fame if my blogs are worthy, Julie is the only blogger I’ve heard of who went from this lowly writing format to a published book and to a feature film Julie-Julia with Meryl Streep playing Julia Child. I say, “Hurray for Julie.”

When all is said and done, successful writers keep need to keep their finger on the pulse of current changes and events in writing.  I wholeheartedly recommend these two publications to add flavor and value to your writing.

Nancy yTe \

February 2012

 COFFEEHOUSES

 Nancy Thatcher Cerny

 So, you’re a writer.  Then you’re going to need a coffeehouse.  The world’s greatest and most noted writers, politicians, philosophers, authors and businessmen frequented these establishments as they were essential meeting places for contacts, information, gossip, assistance and support.  Writers enjoy monthly coffeehouse meetings right here in Mountain Home, Arkansas.

   English coffeehouses have been centers of creative literary life for over one hundred years.  Imagine stopping in and meeting Samuel Pepys, Daniel Defoe, John Dryden, Jonathan Swift or Sir Isaac Newton.   Yes, they gathered together at coffeehouses with fellows of common interest for camaraderie, inspiration and fellowship.

Almost from their inception, London coffeehouses attracted specialized clientele, serving men of a particular occupation, interest, group or activity.  Meeting places were established in proximity to their specific industry.  Money men at Lloyd’s of London found a coffeehouse where underwriters of insurance could meet to do business.  Other establishments attracted lawyers, politicians, businessmen, booksellers, authors, theologians or men of fashion.  For thirty years, John Dryden, at Will’s Coffeehouse in London, served as an inspiration to poets and writers of prose where the most famous men of letters sat together and sipped coffee.  There was serious discussion of literature and, it is said, the patrons of Will’s enjoyed jest, libels and lampoons.   

   A coffeehouse is an establishment which serves prepared coffee.  It may share the characteristics of a bar or restaurant and, from a cultural standpoint, welcomes social interaction.  It provides a place for people to congregate, converse and pass their time in small groups.

   15^th century coffeehouses were meeting places in Middle Eastern countries where men assembled to drink coffee and listen to music, read books and play backgammon.  In the 17^th century, coffeehouses were popular throughout Europe.  Oxford’s Queen’s Lane Coffee House opened in 1654 and is in existence today.  The first Paris coffeehouse was a major locus of French Enlightenment; Voltaire, Rousseau and Diderot frequented it.  It is arguably the birthplace of the Encyclopedie. 

    Charles II tried to suppress the London coffeehouses as “places where the disaffected meet and spread scandalous reports…” whereupon the public flocked to them in even greater numbers.  They were social levelers, open to all men, and as a result, associated with equality and republicanism. 

   Coffee shops in the United States arose from the espresso-centered restaurants in New York and San Francisco.  In the 1960s they began to serve as a venue where folk music performers could vent political discontent; Joan Baez and Bob Dylan.  Twenty years later, they were more associated as much with drugs as with coffee.  The next coffeehouse counter-culture arrived with Bible studies and anti-drug organizations.

   When the mainstream model of coffeehouses added walk-up and drive-thru service, their meeting place value diminished.  Once again, Neighborhood café’s, diners and restaurants are reemerging as coffeehouses, welcoming groups of people to stop in and stay awhile.

   For some writers, meeting other wordsmiths at a coffeehouse was a new idea.  It is thanks to the suggestion and arrangements by one of our local authors for writers in the Mountain Home area enjoy a ‘coffeehouse’ meeting.  This coffeehouse type setting was recently the training camp for the famous J. K. Rowling’s Harry Potter series of books.  She may not be dropping in for brunch but we expect the same great writing results from our local attendees as we congregate at 10am in the Betty Boop Room of Mel’s Diner on the last Tuesday of each month.  Come join us!

   Seeds of Hope, Nov 2008 – revised Feb 2012 by Nancy yTe \