Feedback is an essential part of the creative process. Well, at least mine! How else will you know if your intentions match up with the reception of your work? Today, I’ll talk about the different stages of a project where it might be appropriate to solicit feedback.
In one of my writing groups, the work I share is almost always a work-in-progress. It’s literate, but it’s usually a snippet from a novel or a short story that still needs some fleshing out. In this case, I’m actively looking to my other group members for assistance in how to flesh the story out, what I’ve overlooked, and ultimately whether I’m on the right track or not. Just realize not every writing group is geared to workshopping this kind of early stage writing.
Best critiquers at this stage: Critical thinkers, other writers.
I’d call this feedback on anything that’s been drafted and fleshed out, but hasn’t fully cured in a version you are confident in submitting somewhere. In other words, you’ve gotten to the end, but the ride is still a bit bumpy (not in a good way). Here, I’m looking for macro-level adjustments (micro is good too) that I can make so the story can gel into a finalized draft. At this stage, I want people who understand the big picture but also the aspects of craft that will help me realize it all on the page.
Best critiquers at this stage: Other writers, particularly those writing in your genre.
This is feedback on a polished draft that you think is the best it can be. You know, all those checklists when you’re trying to decide if you’re ready to submit or not? If your answer is yes, it’s still a good idea to get another person (or persons!) to take a look. You might burn a few weeks only to get your readers’ blessing to send it out, but it’s better to know you are sending out your best work than being surprised by some issue that was overlooked at other stages. And when you only have one shot with agents, you want everything to be as good as it can be.
Best critiquers at this stage: Readers of your genre, other writers.
So let’s say your story/novel/what-have-you got published. Yay! At this stage, there’s still a couple metrics you can use to see how your work is received and ways to use its reception and apply it to your next story. Obviously things like sales figures are important. But so are reviews. I’m not talking about the reviews your mom/critique partner/best friend wrote. I’m talking about the reviews written by strangers who have no personal investment in you or your story.
Seth Godin says the worst feedback is indifference. Some stories and novels get published, and just as quickly vanish into the ether. Now some of this can be attributed to poor marketing and positioning, and sometimes a story just doesn’t have the impact it should. And sometimes, you are lucky enough to get reviews that help you to understand what worked and what didn’t in your story. Elizabeth Spann Craig talks about this in Handling Reviews from Mystery Writing is Murder. Give yourself time for the sting to wear off, but even bad reviews can be instructive (so long as it's not coming from someone with an ax to grind).
One of my published stories was not received in the manner I had hoped for, and I learned a lot from seeing those reviews of my work. It forced me to analyze my assumptions in writing that particular story as well as my assumptions in who the story's audience was, and so on. Despite the short-term disappointment in that story’s reception, that was a hugely valuable experience, and one that will shape my work to come.
So obviously, you need feedback, and at what point you solicit it and from whom will be dependent on your writerly network and your own needs and comfort level with the critique process.
Personally, I try to get feedback at each stage of a project, if possible. In my goal to write faster, I’ve found that In-Progress Feedback is extremely helpful for heading off mistakes in a story that would need significant retooling if they were found much later in the process. However, for that to be successful, I think you need to be:
1) very used to critique and,
2) very clear in your own head with what you’re trying to achieve with your work.
Especially because rogue comments can easily affect the trajectory of a story and your confidence in it at the early stage of a project. It should also be said that if you’re sharing early work, you are sharing it with writers who:
1) you trust
2) understand that it’s an early draft, and
3) can provide constructive criticism (not all critiquers are alike in this)
Your mileage may vary, of course. But I’ve found this work for me.