I am scared to work on my WIP story right now.
Because someone I respect read the story and said that it’s working well, but I think I need to make one change–a pretty big one–to make it even stronger. But Critiquer said it was great, as is. If I mess with it, will it – well, mess it up? Or will messing with it make it stronger like I suspect?
The Role of Critiques: Clearing up Confusion
This leaves me with a major question about the role of critiques. Basically, I get critiques to check how well I’m communicating. I don’t get critiques to see if my writing is any good (see this post on the good/bad question)
Good feedback includes a reader pointing out where they are confuse or where they lost interest.
Confusion, in early drafts, is often because my vision for the story isn’t solidified, which results in inconsistent portrayal of a character, or contradictory information.
“On page 11, you said Martha was mad, but when she meets Horace in page 15, she runs up and hugs him. Which is it? Mad or glad to see him?
Often, I want to say, “Both.”
But that doesn’t work, does it? If she is livid on page 11, she’d better show that fury on page 15. Else, why have her so mad on page 11?
Another inconsistency that escapes me in early drafts is points of fact or logic. In my WIP, the villain will use a drone to deliver something remotely. My idea about drones was that they are sort of airplane shaped, but the reviewer quickly sent me to YouTube to discover that they are more helicopter-like, but instead of one big blade on top, they have multiple rotating blades on top. Or at least, one current popular model looks like that. I could, of course, invent my own drone design for this story, but
The Role of Critiques: Reader Reaction
Again, I don’t care if you call my story good or bad. But I do want to know where a typical reader loses interest. WHERE is the key question. Not WHY? As the author, I should be able to pinpoint the why. I just need to know WHERE. When you tell me where you lose interest, I’ll look and go through a mental list of things that could be happening: the prose is awful, nothing is happening, the characters are boring, etc.
I can revise to keep your attention by using better prose, pumping up the action, writing more active character descriptions, putting more at risk in the main character’s life and so on.
The Trap of Critiques
The biggest problem for me today, though, is the trap of critiques; or perhaps to sat it differently, the problem is that someone said my story is Good. Good is the enemy of Best, goes the old proverb. But it’s good. Someone–a reader I respect–said it’s good. Do I trust that, or do I listen to the itch in my storyteller’s sense that I need to tweak this one spot, which will improve pacing later, and create BETTER?
I’m scared of messing it up badly. Of course, I can keep a copy of BEFORE; but the revision will take a lot of small changes and it will be hard to get back to the original. Will I take a chance or not? And if I make these changes, but then realize that it didn’t turn out for the best, will I be willing to do the work to undo everything? Commit or not? Today, I’m scared to work.
It’s a typical day for an author.
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