Be Someone's Critical Friend

The first step in learning how to revise is learning how to be a critical friend to someone else.  The ultimate goal for revision is to make you a critical reader of your own writing.  This month, with focused, research-based activities and friendly advice, we're going to try to teach you how to take on both these roles--and show you how acquiring these skills can help make you a better reader and writer in the future.

Did you submit a deviation for Polish Month?  If so, check this journal for group assignments.  Not listed on the journal?  No problem.  Note GeneratingHype with a link to your deviation by 4 May 2008!

_{If you haven't already, please read The Writing Process for additional information and clarification on various terms used throughout the month.}


So, what is a Critical Friend?

A Critical Friend is someone who provides positive, encouraging feedback but also offers constructive suggestions on how to improve a piece.  It is not someone who just blindly praises or indiscriminately tears apart a text, and neither is it someone who acts solely as an editor or proofreader.  In fact, a Critical Friend's role rarely ventures into that of editing or proofreading unless there's a previous committment to act as both friend and editor or there are a few 'easy catches' that the critical friend points out as a courtesy.

It's important to note that a Critical Friend is not a Critic.  A Critic need not offer any positive feedback on a piece and is free to tackle and tear apart a text at her leisure, with little thought to offering suggestions or other useful advice.  It's true that a good critic should try to offer suggestions to help the writer improve, but this is not a necessity in true criticism (though it is often encouraged in constructive criticism).  Also, with the Critic, there is very little dialogue between her and the writer.  The Critic states her opinion and offers her critique, and the writer may ask a few clarifying questions or leave a few defensive or explanatory comments--but the Critic is under no obligation to acknowledge these and, in fact, can be put-off by the need to continue the discussion.  A critique from a Critic is, many times, a one-done deal; a critique from a Critical Friend should be a conversation.


How does a Critical Friend start this conversation?

It's true that many lasting relationships tend to begin on a positive note, and this is precisely the way that we encourage Critical Friends to begin building a relationship with the writer.  After all, it's the writer who has left herself open, submitting a text for the Critical Friend to read, and that very first step is crucial to igniting a good rapport and maintaining a confidence in each other that will be necessary as the relationship progresses.  However, it is not the Critical Friend's job to start the relationship.  Instead, the writer must take a few steps, first, to show that she is open to such a relationship.


As a writer, how can I do this?

It's time to sit down with your text and be honest.  This, at first, can be a very difficult thing to do because it requires you to be open and vulnerable about the parts of your writing you are most proud of (and the parts that you are struggling with).  It's a clear assessment of strengths and weaknesses in what you've produced as you, the writer, can see them.

That said, this is no time to get nervous.  We're not looking for you to write a dissertation on the parts and problems and progress of your text; that would be ridiculous.  Instead, read through your text once (or twice) more and pick out parts that you are particularly proud of.  Pick out phrases or a paragraph or a line that you thought was well-crafted.  Choose an emotional highlight or a section that you thought really captured what you were going for and take note of it.  In other words, step back and say, "Yes, this is what I am proud of in my text."


Um, that's hard.  I hate everything about my text.  That's why I want help revising it.

Well, you can't hate everything about it.  There has to be something in there worth salvaging, else you would have scrapped it completely and never submitted it for revision.  So let's start simple:

`What do you like about the idea behind your text?
`What do you like about your text?  You can be general or specific.
`Pick out your favorite line, phrase, paragraph or stanza from your text.  Why is this your favorite?
`What were you really trying to get across or capture in your text?


Okay, now what?

Now you're going to have to dig deep and stick with this whole 'honesty' kick.  Find something in your text you're not happy about.  It, again, could be a passage or phrase or paragraph or line or stanza or image (etc.) that you didn't like or felt was weak; it could be the subject and a general unhappiness about how you approached it.  It could be frustration about not knowing where to go with something or how to get a certain idea across.  Whatever it is, find the things you really don't like about the piece.  And yes, there must be something, otherwise you wouldn't be trying to revise it.


If you're having difficulty, try addressing these questions/suggestions:

`What do you dislike about your text?  You can be general or specific.
`What are your least favorite/weakest lines, phrases, paragraphs, stanzas, etc.?  `Why do you feel these are your weakest and/or least favorite sections?
`Are there any images or descriptions you were uncomfortable with or thought were too little or too much?  Why?
`If you were a random reader who had just picked up this text, which parts would you find boring or confusing?


Are we done yet?

No, not yet--but almost!  Now that you know what you like and don't like about your own text, it's time to set some general goals.  In other words, your Critical Friend should know, even before reading your text, exactly where you want to take it and what you want advice on.  What are you trying to accomplish with this text?  What are you trying to accomplish with revision month?  With which sections do you want the most help?  Which sections are you satisfied with or not interested in changing very much?

Answering questions like these really helps your Critical Friend understand exactly what you need from them and also helps direct the information and advice that he or she can offer.  So if there is a direction you'd like your Friend to focus on and in, let them know!


What if I don't have a direction?  I just want help!

If that's the case, try not to fret.  As long as you are capable of picking out something you like and do not like in your text, your Critical Friend will have plenty to work with.  We'll talk about goal setting again as the month progresses, so no worries!

Once you've found things that you can say about your text, whether by answering the above questions or coming up with input on your own (both methods are fine!), please make sure you update/edit the Author's Comments of your deviation to reflect these positive and negative aspects as you see them.  You may also write your responses in a comment to your own deviation (or as a separate deviation itself, left in Scraps) and link to the comment or deviation in your Author's Comments.


What's the first step of a Critical Friend?

As a Critical Friend, be sure to read over the Author's Comments and answers to the above questions before you begin reading the text.  This will give you an immediate familiarity with the text, and it will also help you to direct some of your attention and feedback.  Then, when you've read what the writer has to say, take your time and read the text from beginning to end.  It's okay if it takes you several sittings, and it's okay if you read it all very quickly in a crazy rush--as long as you read the text in its entirety.

In other words, your first duty as a Critical Friend is to make the commitment to read.


I've read it.  Now what?

Once the Critical Friend has finished reading, she provides feedback to the writer.  How is this done?  Well, it's done by answering a few questions.  However, do not feel as if this is a school assignment asking you to find the 'right' answer.  Instead, it's important to note that all of these questions are questions that anyone can answer about any piece of writing they pick up, from People magazine to The Wall Street Journal to the Great American Novel to the most complicated Eliot poem.  These are questions asking you for your impression and your opinion--nothing else.


Positive Feedback

The tone of your answers for this section should be positive.  This means, even if you disagree with the writer's choices, you want to strive to compliment what needs to be complimented and appreciate what deserves appreciation.  Remember, this is your first opportunity to interact with the writer, and we are trying to build trusting, helpful relationships.  If you are having trouble coming up with something, use the questions below for inspiration.

`Look at the lines (etc.) the author liked.  Were these the same for you?  Why/why not?
`What were your favorite lines (etc.) from the text?  Why did you choose these?
`Did something in the piece really stand out to you in a positive way?  Explain.
`Overall, what do you think the strongest part of this piece is?  Why?
`Provide two positive comments about some aspect of the text.


Constructive Feedback

For this section, you want to keep the tone light, but you want to be firm in your opinions.  As this is directly addressing your impressions of the text, there is no 'right' or 'wrong', but where possible the Critical Friend should try to provide justifications or explanations for why she feels a section needs work.  Again, the tone should be friendly-but-firm.


`Look at the lines (etc.) that the author did not like.  Do you agree with what the author has to say about these lines?  Why/why not?
`Were there any parts of the text that left you confused?  What were they?  What do you think might be missing?
`What lines (etc.) of the text did you feel needed the most work?  Why?
`Overall, what part of the text do you feel could use the most work towards improvement?  Does this coincide with what the author is looking for in regards to help?
`Were there any parts or places where you were confused or you felt something was unclear?
`Provide two constructive comments about some aspect of the text that you feel needs to be improved.  Please be sure to explain why you feel these aspects need to be worked on so that the writer understands where you are coming from.


Get Posting!

When you think you're armed and ready with enough positive comments and a few areas of general advice for the writer, feel free to leave a comment with your feedback on the writer's deviation.  The format you use for this is entirely up to you.  You can put it all together in one comment, separate it into several comments, type something up and submit it as a deviation (in Scraps) that you link to in a comment--whichever way you decide, just make sure that you provide this feedback somewhere that gives the writer the opportunity to respond.


Ouch.

It's imperative that the writer understand that the Critical Friend is looking at the text and offering honest impressions and a new perspective.  While some of the comments may sting a little, please know that your Critical Friend's intention is to help you better the text and, because of this, her intentions are respectable and should be met with respect.  If you feel yourself getting defensive in regards to a comment you've received, step away from both the comment and the text, and do not return to it for several hours or--if you must--several days.  A true critical friend should never leave a comment like "Wow, that's awesome!" or "Man, this sucks" as neither one of these tells the writer anything useful in regards to improving; they only provide general feedback as to whether or not something in the text is working or not working.  It's the Critical Friend's job to help you figure out what that something is.


Okay, I think I got this.

Great!  Now it's time to put this plan in action.  Head back to your text, answer the author questions above, and notify me and your partner(s) when you're ready for your text to be looked at.  Because we're on a bit of a schedule, it's important that all participating writers have their comments complete by Monday, 5 May, 2008.  If you cannot get your comments in by then, please let me and your partners know so that we can make alternate arrangements.

Critical Friends will then have until Thursday, 8 May, 2008, to leave general, positive and constructive feedback on the writer's piece.  Keep in mind that this feedback can be as general or as specific as you'd like, but it should follow the basic requirements set forth above.  If you do not think you will be able to offer feedback by this date, just let someone know.  We'll try our best to be flexible and work with your schedules.

Once the initial commentary is complete, writers are encouraged to ask for clarification or additional advice from the Critical Friend (as a response to the Friend's comment) or even to provide additional insight to the text to help the Critical Friend work more effectively.  In other words, begin having a conversation--open a dialogue--about the writing.  You'd be surprised how many ideas can come by simply talking things out with others.

Remember: if, at any time, you are confused or unsure about what you are saying, stop and ASK SOMEONE for help.  That includes asking me, LaMonaca, or other participants in this month's project.


Not sure what group you're in?  Be sure to check this journal for team assignments.


Want to Join In?

Did you miss the sign-up for this month's project?  That's okay!  There's still time!  Note GeneratingHype with a link to your text by Sunday, 4 May, 2008, to be included on the list.  As these sign-ups are a bit late, I do ask that participants make an effort to have their Author's Comments edited to include the relevant information requested above.

Not interested in being part of the "official" list but still want 'in' on the activities?  No problem!  Try a few of these ideas on your own writing and others' writing and see if you can find your own Critical Friends or--if you already have a great support group on place--see if some of the techniques discussed throughout this month can work for you.