Feedback and Commentary

[Valdar and Astralis]

Recommended Guidelines to Feedback, Comments and Criticism (CC)
(Adapted from http://www.raenestorm.org (bad link, no longer exists. :-( )

Original by Lala & Stormhaven
Adapted by Valdar
15/12/2003)

Introduction
As a community of writers, feedback is very important to us. Be it the gentle glow of 'nice work!' or a full on 'what were you thinking?!?!'.

 

Equally, as a community of writers, feedback is a very sensitive issue. How hard is too hard? Ripping up work that someone lovingly laboured over for months on end isn't very encouraging, and Silence isn't much better.

 

Therefore, I propose a guideline--guideline mind you to providing feedback. These guidelines are by no means set in stone, but I'm hoping they'll help in clarifying what sort of feedback someone wants.

C&C Rating system (v1.2)

Level 1: "Be Nice" (Default: Initiate)

Hey, look what I did!

The lowest level of feedback, and unless specifically requested otherwise, the feedback level for Initiates.

Basically, this level is used if you're not sure on the poster's temperament, and is pretty much nothing more than a "What do you guys think?" request.

Be encouraging, and offer any ideas that could be changed, but be positive.

Level 2: "Be Kind" (Default: Page+)

What do you think?

Offer some advice on what should be changed, but go 70% "what's right," and 30% "what could be better". Suggested use: For writers comfortably in their common element, unless otherwise specified.


Level 3: "I'm Learning"

How the heck do you do this?

This is the turning point level for feedback, where critique exceeds compliments by 60% to 40%.

 

For those who are venturing into some unknown territories, such as from storytelling to poetry and wish to get more specific feedback, this is your level.

 

For those giving the C&C, make sure you add details as in what you think needs to be changed, not just "it doesn't read right." Overlooked inconsistencies, grammatical and other technical errors should be included, if any.


Level 4: "Set my clothes on fire"

What do you think I should do?

You're comfortably in your element of writing, and you've been doing this for a while.

 

After weeks on end on staring at your work, you gotta admit it--writer's block. Hey, happens to the best of us.

 

If you're ready for some (occasionally) hard critique on what you should do, it's time for level 4.

 

Level 4 entails a new level of detail from level 3. Instead of things like, "where's that Frodo guy come from?" you need, "The character, Frodo, does not appear to display much in the way of character development, and seems to jump out of no-where to take the lead. There seems to be a lot of story behind him, perhaps elaborate a little?"

 

Look at character development, plot development, and tone. Specifying Level 4 also means that you want more critique than "It's great!" posts.

Level 5: "Hi, My name is Bubba, take off your pants."

How would you have done it?

This is where your work is 'done', subject to revisions.

 

Recommended only when the final product's just about ready to be released.

 

Level 5 is not merely proofreading, however. This is the level where personal styles are most likely to clash.

 

Not all recommendations at level 5 need to be included, but generally, level 5 indicates a willingness to edit, rewrite certain sections of your post, or at the very least, take into consideration for future works.

Level 5 should also include level 3 and 4, if necessary.

 

Using the System in a Post

Generalities:
Unless otherwise stated, assume level 1 feedback for Initiates, and level 2 for everyone else. If you wish for higher levels, you need to mention it at the start of your post, or in the topic;

Example: Requested C&C Level: 4


"It hurts and stings!"
Post level 3 feedback can be. . .harsh. Dont take it personally, you DID ask for it. There's no shame in level 1-3 (which should be used in 90% of cases anyway).

 

Level 4-5 are for the perfectionists. Also, as previously mentioned, you don't NEED to act on the feedback, it's just something to keep in mind, personal style aside (and we love personal styles)

Remember, at the end of the day, it's your work!

But Bubba makes me feel like a man...
Now, after all that, you may want to ask. . .why not just request a level 5 every time? After all, _real_ men aren't afraid of criticism!

The answer to that is, yes, why not indeed, BUT. Please remember that a level 5 feedback can take a while to construct, and not everyone can/will spare that time.

As a rule of the thumb, only request a level 4-5 if:

• You're very stuck
• You really want to change your work based on advice given.
• Your
• work is "done" and you need help with the finishing touches/proofreading

 

Sublevels
This is just a general outline of feedback, and I emphasize again, not set in stone.

 

Don't feel too bad making up something like, level 2.5, or 4.5 if you want something more specific than level 2, but not quite level 3.

[reverie]

Addendum:

Another thing to consider when someone provides you critical feedback that you do not like or want.

There's never any need to defend your work.

 

Your work speaks for itself, so you don't need to elaborate on it messages or meanings further.

 

If the person providing feedback asks implicit questions expecting a response, then you can answer them, but it isn't required.

 

Typically thematic or technical questions posed in the critical feedback setting are rhetorical in nature and are designed to get you thinking.

This is not always true in every case, but I have found that the more vehemently someone tries to defend their work, the more offended they become.

good day,

rev...

[Psimon]

I haven't been able to find more 'formal' guidelines in The Pen for how to offer constructive critique/criticism of poetry, so thought I would post this offering from my varsity poetry paper as a way of 'fleshing out' those suggestions above (please (re)move as appropriate if this has been done before or is out of place).

 

These guidelines could, of course, be duly adjusted as per the writer's requested level of feedback:

Guidelines for writing a review
Here are some general guidelines to follow:

 

• Avoid uniformly praising the poem. Your job is not simply to praise (though you should point out what you liked and why) but to help the writer improve. Find at least two aspects of the poem that might be improved: Every piece can be improved.

 

• Avoid providing only a close reading: Feel free to spend a bit of your review “interpreting” or “analysing” the poem; this helps a writer to understand how his or her work is being read and understood (or misunderstood). However, interpretation is not the place to stop. You should focus the bulk of your review on what needs to be improved, why it must be improved, and how it might be improved.

 

• Make the feedback constructive. It is best when possible to frame your remarks constructively by stating what might be improved rather than focusing only on what is lacking or wrong with the piece. Rather than, “you're too abstract,” for example, you might write, “More specifics and tangible images that appeal to the senses would convey the speaker's feelings viscerally—would allow a reader to picture them.”

 

• Be specific in what works or does not work: It is not enough to say, “I didn't understand it”; point out a particular word or phrase or image or metaphor that confused you. It is also important to indicate, if you thought the piece effective, what worked—to point out why a particular image was effective, for example, rather than simply to say, “I thought this piece was great.”

 

• Offer specific suggestions for revision: For instance, if you say that a poem could use more imagery, give an example—an image you might include if it were your poem.

 

 

Below, you will find some specific questions to consider when responding to poetry. You do not need to address them all! Just focus on those that are most important for the poem you are reviewing.

Remember: Make your responses constructive and specific.

• Imagery: Does the poem rely primarily on concrete, tangible imagery, or does it rely too often on abstractions and generalizations? Give at least one example, if relevant, where the writer might use more detail or imagery. Offer a suggestion. Point out images that do not seem relevant or appropriate to the subject matter of the poem. Explain your logic.

 

• Metaphor: How successfully does the poem use metaphor or simile? Do the metaphors help to create meaning? Are they relevant? Point out specific passages where a metaphor might be helpful. Any suggestions? Does the poem rely on mixed metaphor or cliché? Point out metaphors that don't work and explain why.

 

• Language: Does the poem use language effectively? That is, does the poem choose the best words? Are there words you would replace because they are too ambiguous? Would more ambiguity, on the other hand, allow for multiple meanings and thus be helpful? Is there a place the writer might play effectively on multiple denotations or a word's connotations? Is there a way to tighten the writing—to say things more concisely and avoid redundancy? (An example of redundancy: I once wrote a poem about a boat and included the line, “two passengers aboard.” Another poet responded, “Aboard? Where else would passengers be but aboard?” I was appropriately chastened.) Is the language appropriate to the tone and speaker of this poem?

 

• Sound: How might the writer improve the sounds of the poem? Does the subject matter call for more soft sounds or hard sounds? Where might alliteration (repetition of a sound) provide more pleasure or support the meaning? If the poem rhymes, does this help or hinder it? Does the rhyme, in combination with rhythm, create a tone appropriate to the subject matter? Should the writer consider eliminating rhyme—particularly if it is predictable, clichéd or combined with a “sing-song” rhythm?

 

• Form: Does the writer end lines at natural pauses? How might line endings be improved? Are there opportunities to extend sentences beyond the end of a line and into the next line or stanza to avoid stilted rhythms? Would you break the stanzas differently? How and why? What do you think of the beginning? Does it take too long to get into the heart of the poem? What do you think of the ending? Does it feel unfinished? Should it have finished earlier? If yes, to these questions, why? How might it end more effectively?

 

• Subject and Theme: How easy or difficult is it to understand (after two readings) what this poem is about? Is the poem confusing or unclear? Where?

 

• Mode: To what extent does the poem reflect a grasp on the tradition of which it is part, if any? If it is an ode, for example, does it reflect an understanding of the ode tradition? Why or why not? To which poems might the writer return as useful models?

***************** END GUIDELINES ******************

[Tanuchan]

Comment:

There is a discussion thread about our guidelines. If you feel like commenting them, feel free to post there.

thread at the Critic's Corner

Edited June 13, 2014 by Tanuchan
broken link