Receiving Feedback on Your Work

Last week, I blogged about giving feedback to other writers. Today’s post is about receiving feedback and the myriad of emotions that pop up. It’s tough. You’ve worked really hard on your manuscript, and now someone is telling you there are problems or that they don’t like something.

1. You have to develop thick skin if you’re going to be an author. You will always have critiques, criticisms, reviews, and comments. It’s hard, but you need to be realistic (and not emotional) if you want to improve your writing. The GOALS are to get published and to sell books. To do that, you need to hone your craft.

2. When I come back from critique group or get editorial feedback on my work, I try to wait a day before making changes. That usually gives me time to get over whatever emotions spun up from my first reaction to the comments. Scream, holler, run a mile, eat chocolate, dance in the kitchen, practice boxing, or do whatever helps you get centered. Allow yourself a little bit of time for your pity party. Then, pull up your big-girl pants and get on with your writing career. You can be sad or angry for a bit, but don’t wallow in it. If you want to be published, you have work to do.

3. After I’ve given myself some time, I look at the comments and changes. Sometimes, they’re not as bad as first perceived. A lot of boo boos are easily fixed. I go through the document and decide what changes I need to make.

4. When reading feedback from critique group members or beta readers, I look at each comment. If one person didn’t like or get something, it may be an outlier. If the majority of the group had the same comment, I need to look at it.

5. You don’t have to accept every change that’s suggested. At the end of the day, you’re the writer, and it’s your story. You can often negotiate with editors and agents if you feel strongly about something that they’ve asked you to change, but be professional and leave emotions out of it when you approach them. And here’s the BUT — and it’s a big one… If the editor doesn’t budge, you may have to make a decision. Is the change worth fighting for?

   I have been in several anthology projects where a new writer decided that he/she did not want the story edited AT ALL. The coordinator talked to them and explained the editing process that the group decided on was for a quality book (in this case, it was a three-level editing process). The publisher insisted that all stories would be edited. Two of the authors stood firm, and their stories were removed from the book. Decide what you can live with. Professional feedback is to make your work stronger and more marketable.

6. Everyone has ideas and opinions. And everyone will tell you about what they like and don’t like to your face and on social media. Don’t get in a confrontation or a social media war. Even if you delete posts and comments, they’re still out there somewhere in Internetland. It looks defensive and unprofessional when you start a shouting match. It is so easy to bang out a heated response to something, but don’t. It never helps, and it could damage your brand.

   Getting feedback, especially early in your career is tough. If you want to be published, you have to be tenacious and always looking for ways to improve. Criticisms and critiques are a big part of this.

Critiquing Others' Work

I’ve been a manager, a college instructor, and an editor at my day gigs for a lot of years, and feedback seems to be an hourly thing in those worlds. There’s an art and a science to reviewing and critiquing another writer’s work.

Here’s what I’ve learned.

1. Their manuscript is their baby. They have spent hours, days, weeks, and years on this, and no one wants to hear you call their baby ugly. Feedback often triggers emotional responses. I try to do the “sandwich” method. Mention something positive or something you like. Then discuss the problem areas, and then sandwich it in with another something positive.

2. I try to add comments throughout the work when I think word choice is good, when something is funny, or when there’s good tension. This way not all the red marks are of the “you did this wrong” variety.

3. If it’s a spelling or grammatical error, I mark it. If it’s a subjective thing, I try to state how it made me feel or what I interpreted. That way, it’s one reader’s opinion, and not a pronouncement on the person’s abilities or character. It’s the reader’s opinion of the work.

4. At work, I use different colored pens if I’m editing on paper. Nobody likes getting a document back that looks like a bloodbath of red ink. Sometimes, that can’t be helped with electronic editing. One of my critique group members uses the highlighter feature in Word instead of track changes. She picks colors for different things like yellow is a problem, pink is something funny, and blue is something she really likes. That way, my page looks like a rainbow instead of thousands of little comments in the right margin.

5. As an author, if you want all warm and fuzzy comments, let a family member read your work. That is always good for the ego, but you need to build a network of other writers and super readers who know your genre and who will be brutally honest. They can find plotholes, story issues, and redundancies. They will tell you when it’s boring or when you’ve gone down a rabbit hole. I appreciate it when my critique partners and beta readers point out things.

6. I try not to give feedback when I’m tired or stressed out. I don’t want my mood to jade my comments.

7. If someone has a reoccurring problem, I’ll make a note the first time. Then I will highlight it if I see it again (and again and again). Examples of this are misspellings and overused words.

8. When I finish a critique of someone’s work, I always send a note along with my notes and suggested changes. (At critique group, we do this face to face.) I do a little summary of what I like, what works for the story, and the highlights.

9. Your time is valuable, and you should be writing your next book. I always like to help authors where and when I can. But time is limited. Occasionally, I have to say no or not right now because of other commitments. Sometimes, there’s a compromise like critiquing a few chapters or the first fifty pages.

10. And what do you do if you read something that you think is just terrible? I have stopped reading before. And I tell them why. Usually, it’s because they’re not sure what their story is … it’s a romantic science fiction piece set in the American West with aliens and a touch of dystopia, vampires, and time travel with cats, suspense, and a main character with amnesia. I prefer to read mysteries and thrillers. I tell people up front that I don’t know other genres as well, and I probably wouldn’t be able to give them the critique they need on the conventions of their genre. And other times it’s because the work really isn’t ready. My friend, Mary Burton, calls your first draft the sloppy copy. That’s the one you need to work on and polish before you get to the editing and critiquing stages.