Critiquing Questions

 The critique questions below are only some of the questions you'll ask yourself as you critique another person's work. Add to this list as you need to.

It’s always a good idea for both of you to have a list to share with the other.  

CRITIQUING A CHAPTER OVER A PERIOD OF TIME (SEVERAL REWRITES)

THE FIRST CRITIQUE QUESTIONS

The first critique should be an overview of plot and character. Questions you should ask include--

Does this chapter advance the story?

Tell more about the characters?

Give plot information?

Does it work with the chapter before it?

Specific elements to examine in a general critique are

PLOT

Do the characters and plot work well together, or is the plot just pasted on?

Does it make sense?

Does one thing lead to another?

Has the story started at the right place?

Does the action escalate?

Are more plot questions asked before a plot question is resolved?

Does the plot fit genre boundaries?

CHARACTERS

Does each character sound different?

Are the characters doing what they, as characters and personalities, should be doing, or are they being moved around for the convenience of the author?

Do we understand why they are doing certain things?

Does each major character have a strength and a weakness which will be affected by the plot?

In the romantic relationship, is their emotional conflict strong enough for the length of the work?

Will it take more than one long talk to resolve their conflict?

Does their romantic relationship work with the action plot?

In the action plot, is the conflict between the hero and his opponent strong enough?

Is the opponent strong enough to really push the hero to his limits?

LATER CRITIQUES

Later critiques should also examine the nuts and bolts of grammar, spelling, language, dialogue, point of view, correct historical and scientific information, etc.

Finding a Critique Group

Some places you can find a critique partner or group are local writer's groups (only if there are others who write in your genre or subgenre), RWA chapters, or other writers' groups.

I’ve listed some links below with advice on finding critique groups, partners, etc.  

WHEN CRITIQUE GROUPS DON’T WORK

http://hopeclark.blogspot.com/2011/01/know-when-your-critique-group-doesnt.html

DEALING WITH REJECTION AND THE BAD CRITIQUE:

http://www.andrewjackwriting.com/2011/01/five-strategies-for-writers-to-deal-with-rejection-and-critique/

PLACES TO FIND CRITIQUE PARTNERS ONLINE:

http://thewritelife.com/find-a-critique-partner

TELL YOUR CRITIQUE PARTNER EXACTLY WHAT YOU WANT:

http://thewritepractice.com/critique-partners

LOOKING FOR A CRITIQUE PARTNER?

http://blog.janicehardy.com/2017/01/are-you-looking-for-critique-group-or.html

HOW TO FIND AND BE A GREAT CRITIQUE PARTNER:

http://www.adventuresinyapublishing.com/2016/08/how-to-find-and-be-great-critique.html

Why You Need a Critique

 Today, I'm starting a series of blogs on critiquing.

Why do you need a critique?

Another pair of eyes spots problems.

Grammar and spelling problems are easily avoided.

Clarity problems -- Does a phrase or an event not make sense to another person?

Someone else can see the diseased tree when you only see the forest.

If you want only praise, let your mother or your best friend read your book. If you want honesty, get a good critique partner.

Critiquing someone else's work is good for your writing. By learning to spot others' weaknesses, you can more easily spot your own.

Explaining writing problems helps you understand them.

Pushing Humor Too Far

 The mystery series was a cozy with a light tone and humorous moments, but the third book in the series started with the murder of the heroine’s closest friend and moved through the next days with sleuthing as well as the process of grieving for and burying someone you love.

I imagine most would agree that this situation is not a comedy waiting to happen.  Unfortunately, the writer was so desperate to bring the light tone in that she proceeded to add slapstick.  

At the family visitation, one of the heroine’s friends pretends to knee the heroine’s boyfriend, her heel breaks, and she really kicks him in the jewels.

The heroine receives a threatening phone call, then her bedroom door knob jiggles.  She slips as she reaches for a Taser and bangs her head, then, before she realizes it’s a cop friend, she shoots him as he enters her room and he slips banging his head.  They end up concussed together on the bed where her friend discovers them the next morning and has a fun time wondering what went on between the not-a-couple.

I could only shake my head during these scenes that so desperately tried to add humor to a situation that wasn’t funny.  Not only was the over-the-top-to-the-point-of-ridiculous humor displaced, it tried so hard that the book fell apart.  

Moments like this are what trusted critique partners, beta readers, and good editors are all about.  They should have told the writer that sometimes a light tone just doesn’t fit the situation, and that poor taste and slapstick have no place in certain situations.  

How can you judge this with your own writing?  Think of your novel as a movie.  If you are writing a mystery movie full of dark atmosphere and duplicitous suspects, a scene from DUMB AND DUMBER just won’t  fit, will it?  A light moment of character revelation or a funny story about a victim would.  

Stay true to the tone that’s needed and listen to your early readers.  That’s more important than trying to maintain the tone of the series.  If not staying true bothers you, then find another plot that will fit that tone. 

Writing Witty Dialogue

Witty dialogue is found in most Regency romances, and the comedies of Shakespeare are rife with word plays and banter between clever characters, but it also has a place in other writing.

Put two clever characters with a sense of fun together and let them at each other so they duel with words, and the reader is in for a treat that requires as much attention to the word play as the characters must pay.

This is from an unpublished contemporary novel.

"You have the tail of an ass," Ariel said. 

David raised one eyebrow haughtily. "Women have told me I have a nice ass, but not one has mentioned a tail." 

"They told tales." 

"I am happy you are named for the sprite Ariel and not Puck. I could wake up with the head of an ass." 

“Don't toss Shakespeare at me, amateur, or speak of Bottom. Why change your head into an ass? It would be redundant since you act like one already." 

Witty dialogue, particularly in a romance, is emotional and personal foreplay.  It reinforces a sense that these people “get” each other and are equals emotionally and intellectually.  

Outside of romance, the most surprising and common use of witty dialogue is between the hero and the villain who also “get” each other.

Dueling with words can be just as much fun for the characters and the reader as dueling with swords, and just as dangerous.

Playing Against Type for Humor

Another type of humor that works well in fiction is having a character forced to pretend to be the exact opposite of what he is.  

The prissy heroine may don dirty jeans and boots and do an earthy cowgirl impression to impress a potential client.  This scene pushes the character out of her comfort zone as well as allowing her to see her own ridiculousness in both roles.  

If you can play against type as well as situation, you can give the reader a double treat.

In this scene from an unpublished novel, two heterosexual alpha males are escaping from a hospital although one of them is so badly hurt he should be admitted, not leave, and he had come into the hospital to kill someone so the situation is twisted, as well, into irony, another humor element.

Cole and Daniel staggered into the sanctuary of the empty elevator, and Cole hit the lobby button with his elbow.  

When the door closed, he let Daniel slump against his chest, and he held him up with both arms.  Daniel's legs buckled completely, but Cole was afraid to tighten his hold for fear of the fractured ribs.

The elevator clicked, and a light came on above the door.

"Oh, lord.  We have company," Cole said.

Daniel tried to straighten his legs, but they bowed like a drunken cowboy's. 

"Stay where you are."  Cole pulled him back up. "And for Pete's sake, hide that famous face of yours, darling." 

Tittering drunkenly, Daniel buried his face in Cole's blond hair, then nuzzled his ear, his arms snaking around Cole's waist and neck. 

"Don't be fresh," Cole muttered as the door opened at three.  

A well-dressed, middle-aged couple walked in. 

"Hello," Cole gushed cloyingly and grinned, careful to keep his own famous face in shadow. 

When the graying matron saw the two men in intimate embrace, she backed into the already closed door. 

Cole purred proudly, "We're being married tomorrow." 

The gentleman shoved the next floor's button instead of the main floor. 

Cole fought to keep a straight face and Daniel on his feet. 

The elevator door opened, and the couple rushed out. 

"Damn, they've left," Cole complained. "I wanted to invite them to the wedding." 

"What will Penn and Lylah say?  They don't even know we're dating.”

Cole's laughter got them through the lobby and outside the hospital.  

The Misunderstanding as Humor

 I have never written strictly comic stories, my writing tends toward darker or more serious stories, but I like to add comic elements.  These elements are situational, not in the sense of a situation comedy filled with punch lines, but the humor lies in the situation.  

Humor changes the pace of the story, can reflect on what is happening, or gives the reader another side of a character.

One type of humorous scene has one character totally misunderstanding or not having the right information in a situation.  

This example is from an unpublished category romance of mine called COURTING DISASTER.  The hero and heroine work at the same sporting goods store during the Christmas rush, and they’ve finished a full day of work.  They chat in the parking lot at their cars.  Cody is very interested in Maggie, but she’s not interested in any man because she wants to remain true to her late husband.  For the first time, she’s beginning to see that maybe this isn’t quite as easy a life decision as she thought.  

The punchline for this misunderstanding is that Molly is Cody’s golden retriever puppy, but Maggie doesn’t know this.  The reader is in on this joke because Molly was in an earlier scene with Cody. 

Cody sighed loudly.  "On a night like tonight, I'm glad I don't have to go home to an empty house.  Nothing’s worse than an empty house and a dinner for one.”

Maggie’s heart twitched more painfully than her feet.  That was exactly what was waiting for her.  An empty house.  “You have a housemate?”

"No.  I was talking about Molly."  They stopped by Maggie's car, and Cody grinned inanely.  "I must admit Molly turns me into a pile of mush when I'm around her.  I never expected to be as crazy over her as I am.”

Cold settled in Maggie's heart.  "That's nice." 

"I really miss her when I'm working.  I promised her I'd spend tomorrow morning with her.  I can already guess what will happen.  She'll curl up against me in bed early tomorrow morning, rest her head on my chest, and stare at me with those big brown eyes until I wake up.”

Vivid images flashed through Maggie's head.  A beautiful woman naked against Cody, her head resting on his magnificent bare chest--he probably had curly auburn hair on it--and he'd..., and she'd...  Maggie fumbled for her keys in her purse, her head down to hide embarrassment and envy.

"Later, we'll go for a run in the woods and find some fallen leaves to play in.  She loves fallen leaves.  We'll play in the leaves, then I'll scratch her tummy, and her tail will really wiggle.  Then we'll snuggle."

Considerably more than her tail would wiggle if he scratched her tummy.  But she didn't want her tummy scratched!  Not by him, not by anybody.  She was an adult, she was Jeff's widow, she was....  She was jealous of Molly.  

Flustered by that knowledge, Maggie unlocked her car door.  "Well, have a nice day off."

"I intend to." 

I didn’t want the reader to think Cody was deliberately fooling Maggie about Molly’s identity so I had him tell her about his puppy earlier although he failed to mention her name which was an honest omission on his part, not a mean joke.

I also didn’t want Maggie to be an idiot about this mistake so I let her realize her error a few paragraphs later when Cody shows her the new collar he got for Molly.  This also allows her to question her own feelings about Cody and her determined decision to remain a widow.  

To make this light moment more than a throw-away joke, I made Molly an integral part of the plot through the novel.  

For a light moment to work in a novel, it should never be a throw-away joke.