“How Do I Critique My Own Work?”
One of the most important skills a writer can develop is the ability to critique their own work. This is a specific set of analytical muscles that, I suppose, some have well-trained innately, but most of us have to work with on a recurring basis in order to get and keep them in shape. Then we must have something else: The courage to admit where our writing doesn’t work.
Which is why I was pleased to find this FilmmakerIQ article — How Do I Critique My Own Work from novelist Leigh Michaels. Michaels lists five “maladies” often exhibited in poorly written stories:
~~ 1. There isn’t really a conflict or the conflict between the main characters is a misunderstanding rather than real disagreement about substantial issues.
~~ 2. The hero and heroine aren’t realistic and sympathetic characters, or they aren’t behaving in realistic ways.
~~ 3. Nothing is forcing the main characters to remain in the situation.
~~ 4. The romance is not kept at the heart of the book.
~~ 5. The story isn’t well told.
Michaels is a romance writer, hence #4, but the others are critical for writing including screenwriting. For each malady, Michaels lists certain things to look for, such as these related to problem #1:
* Weak Convictions — A pointed discussion will develop, and the characters’ convictions will waver and change as the antagonists explain their positions. If the characters’ convictions are so easily swayed, or it’s only a misunderstanding, explaining their positions would solve the problem in Chapter One.
* Characters who argue, but don’t simply talk to each other.
* Coincidental interruptions — Just as hero and heroine are about to get to the truth, the phone rings or someone comes to the door or another character happens to say something that perpetuates the wrong impression — so the misunderstanding lives on for another day. While it’s a common plot device, if you’re using it regularly, the underlying conflict is probably too weak to support the story.
* Not enough at stake — The characters’ goals aren’t important enough to make the reader believe that they deserve a story. I know women who get bent out of shape about their husbands’ shirts and ties not matching, but I don’t want to read about them.
* Unrelated disasters — Throwing in earthquakes, car accidents and broken bones fills space, but seldom develops conflict or advances the plot. Don’t forget to pose the question: Does every incident move the story forward?
Go here to read the rest.
And a question: How do you critique your own writing?
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