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Critical Thinking By Brian McCarthy
Back in May, I was fortunate enough to have a work of mine read by a group of colleagues. It was exhilarating and humbling to hear all of those words come to life off the page-- and hear the clunkers that didn’t. Who am I kidding-- some didn’t just clunk, they crashed. By the time the reading was done, I thought I had a clear picture of my creation and where it needed work. But then I looked around the room at the twenty other writers who had convened that evening to hear my work. Their gleaming eyes told me I was far from done. They had sat through hell listening to my story… Now they were going to give it back.
I suspect that many of you have had a similar feeling of doom at one time or another. Part of your brain screams for you to run, another screams for you to fight. Your nerves are raw, your heart in your throat. Is this really going to be constructive? Hell, is it even going to be survivable? The answer your fevered mind is looking for is “yes.” The emotional reaction is hardwired into our reptilian brain. How we choose to respond is not.
The difference between a great critique and a lousy one often has less to do with the critic than it does with the writer. You can get gold from a garden gnome if you’re attentive. If you’re defensive, you’ll fight off the very people trying to help you. Here are some simple guidelines to help you get the most out of a critique and walk away from it inspired to get back to work.
You have the right to remain silent… Do it.
If people have volunteered their time and energy to listen to your material and give the best feedback they know how, the least you can do is listen. Don’t roll your eyes. Don’t tell them that if they’d read more carefully “they’d see it was there.” Defending your work has a way of shutting people up and you’ll lose the good critique with the bad.
You’ve got a pen, use it.
Why? Taking notes keeps you occupied so you don’t shake your head, grimace or otherwise show your discomfort. Also, it ensures you remember what was said when the pounding adrenaline wears off. And finally, it sends an important message-- I’m professional and I take my work seriously. What kind of message would you rather send to your fellow writers? To your publisher? To your producer?
Listen with both ears and both sides of your brain.
Nothing is more demoralizing than looking at your notes afterward and seeing only negative comments. And nothing is more inaccurate. Make sure to write down every compliment and comment about what worked in your story. If you don’t capture that, you’re in real danger of throwing the baby out with the bathwater when it comes time to rewrite. Furthermore, listen for the speaker’s intent. You’ve had months to dissect your story-- they haven’t. Don’t dismiss people if they can’t articulate their thoughts right away. Be a detective and find out what it is they’re responding to.
Approach feedback like you approach a buffet.
In other words, contemplate each note, but don’t weigh yourself down by taking them all. Your critics are giving you opportunities, not obligations. Take what works for your story and leave the rest.
Always thank the help.
If you’ve listened carefully you’ve probably gotten some great compliments and helpful criticism. Thank them for it. Even if you disagree with them. Even if you don’t like them. Taking a few moments to acknowledge their time and effort is not only appropriate, it shows them you’re a good sport too.
If you can follow these five simple guidelines you’ll quickly see that the gleam in your critics’ eyes isn’t malice, it’s thoughtfulness. And those sharp objects in their hands? They’re pens and pencils, not knives. Speaking for myself, I was impressed and honored by the effort people devoted to my work back in May. Some notes I agreed with, some I didn’t, and some opened new worlds of possibility that had never occurred to me. And for that gift all I had to do was be as attentive to my critics’ words that they had been to mine.
Brian McCarthy is the current president of the Alameda Writers Group in Glendale, California. Before coming to writing, Brian received his M.F.A. on fellowship at Temple University in Philadelphia where he worked as a professional actor in theater, television, and film.
Since moving to Los Angeles in 2000, he has dedicated himself full time to writing and twice been a semi-finalist in the Chesterfield Screenplay competition. He is currently represented by Dick Shepherd of The Artists Agency. For more information go to www.brianmccarthy.info.
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