Okay. So, now that we’ve discussed asking for and receiving feedback, is there anything we should consider before giving feedback.
We’ve all been on the other side, awaiting a kind word or a withering criticism from a respected compatriot or senior, so we should all be aware of the power of the right word at the right time. You have been given an honour by the recipient and should give him or her and the work the respect they deserve.
Below, I offer some thoughts on how to approach the feedback process when asked, but (sorry for the broken record) I want to hear what you think too.
Feedback is personal. It reflects who you are, what you believe and how you feel. Don’t try to make it otherwise, lest you lose any value it provides. The writer asked you for very specific reasons. To give them anything less than you is a disservice.
Make sure, however, that your feedback is more than just opinion, even though that forms the basis of it. There is a world of difference between superficial criticism and thoughtful critique. Criticism is about saying what you feel. Critique is about asking yourself why you feel that way and discussing what it means with the writer.
Ask questions. Be sure to ask questions both before and after you’ve completed your analysis. What kind of feedback are you looking for? Is there anything you specifically want me to keep an eye out for? What was your thinking behind this scene or character?
Without knowing the answers to these kinds of questions, I don’t think you can offer the most effective feedback. Likewise, the answers may provide you with a framework on which to build your feedback or tell if you’ve misunderstood something significant.
Be honest. Never be afraid to tell the truth, no matter how brutal. You’re the best judge of what you think the writer can handle, but by the same token, they’ve asked for your help and holding back may be counterproductive. It’s possible to be honest without crushing someone, and I don’t mean making a shit sandwich (good news-bad news-good news). Rather, walk them through your thinking as you read their stuff and, even if they don’t beat you to the conclusion, at least they understand your reasoning.
And wherever possible, don’t leave them hanging. Offer suggestions as to how the work could be improved or fixed. If you have no ideas pre-emptively, brainstorm it with them. If nothing else, it will show the writer that you’ve invested in his or her work.
DON’T COPYEDIT. That’s not feedback, it’s copyediting. Unless the spelling of a word or the punctuation of a sentence significantly impacts the meaning of a sentence, leave it alone. It ends up being a distraction from the important conversations. If their climax sucks (you’ll want to be more specific), who cares that they should have used a semi-colon or incorrectly used “its” instead of “it’s”?
Put it in writing. Even the most seasoned writer will miss important tidbits of information while scrambling to take notes on your feedback. By writing your feedback out, preferably within the manuscript itself, you give the writer the chance to follow what you’re saying and how you’re saying it, rather than focusing on the details of the feedback, which they can do at their leisure.
Look for the bigger picture. As you compile your feedback, look for trends or commonalities. As with receiving feedback, ask yourself if any groups of notes refer to the same issue; e.g., a lot of scenes take too long to get started or could be started later without losing the story. Be ready to provide examples, of course, as the bigger picture is typically less obvious, but try to avoid getting stuck in the weeds.
Besides, if there are fundamental issues with the story or its presentation, then all of the nitpicky stuff is unimportant and you’ll be wasting your and the writer’s time.
Your feedback; the writer’s work. Even if you inscribe your comments on stone (see “burning bush”), the writer does not have to agree with you. It is important as you analyze someone’s work that you remember it is their work. Although you can help them develop their voice and style, it is not your task to change their voice or style. Likewise, and more importantly, it is not your job to convert their work to your voice.
Me acting like I could ever teach anything about comedy to the very funny ladies Nicole Rubacha and Megan Mack