How the river flows
If you've read this blog for even a short time, you probably know that I'm a big advocate of emotional and mental freedom during the first draft. Or, to put it more bluntly, having your muse stuff your inner critic in a trunk while you're crafting a first draft.
My agent, Nathan Bransford, posted a slightly different take on this today, and rather than taking issue with it, I actually know what he means. So I decided to see if I could differentiate between the inner voices of the picky critic (who should be ignored at this stage) and the useful editor (who may help).
"Nobody will want to read this stupid story."--critic
"That's boring."--critic
"Hmm, if they kiss here instead of there, it makes everything go in a totally different direction."--editor
"I brought them to the store, but now they have nothing to do here. It was more fun back at the party. Maybe I should go back there."--editor
"Don't say that--your husband/mother/daughter won't like it."--critic
"Is that even a word?"--critic
"Should she really tell him now that she's his mother?"--editor
In short, the critic is the second-guesser. The critic may be stifling your creativity by trying to please everyone you've ever known, or may be the one who makes you double-check your word choice and saves you from embarrassing misspellings. Regardless, all the critic's work can be saved for later drafts. Tying yourself in knots over those issues will just stall a first draft.
On the other hand, the editor raises questions about the direction of a story that can help keep it on track. Some people find it better to just keep writing on through the editor's doubts and questions; it's a matter of personal process. But I often find that if I take a little time to backtrack out of a scene that has led to a dead end, or if I think a bit about where the story needs to go next, I can keep the momentum of the book moving forward.
My agent, Nathan Bransford, posted a slightly different take on this today, and rather than taking issue with it, I actually know what he means. So I decided to see if I could differentiate between the inner voices of the picky critic (who should be ignored at this stage) and the useful editor (who may help).
"Nobody will want to read this stupid story."--critic
"That's boring."--critic
"Hmm, if they kiss here instead of there, it makes everything go in a totally different direction."--editor
"I brought them to the store, but now they have nothing to do here. It was more fun back at the party. Maybe I should go back there."--editor
"Don't say that--your husband/mother/daughter won't like it."--critic
"Is that even a word?"--critic
"Should she really tell him now that she's his mother?"--editor
In short, the critic is the second-guesser. The critic may be stifling your creativity by trying to please everyone you've ever known, or may be the one who makes you double-check your word choice and saves you from embarrassing misspellings. Regardless, all the critic's work can be saved for later drafts. Tying yourself in knots over those issues will just stall a first draft.
On the other hand, the editor raises questions about the direction of a story that can help keep it on track. Some people find it better to just keep writing on through the editor's doubts and questions; it's a matter of personal process. But I often find that if I take a little time to backtrack out of a scene that has led to a dead end, or if I think a bit about where the story needs to go next, I can keep the momentum of the book moving forward.
Um, this is the one I'm fighting with right now while I try to revise my novel. It hurts me. It hurts a lot.
Edited at 2010-10-29 01:36 am (UTC)
The critic is always there but I always try not to hear him.
Great post!
Edited at 2010-10-29 03:07 am (UTC)
I totally agree. There has been several, even dozens of times where, when I'm not 'feeling' it, scrapping a scene or two of clunky, useless material is worth more than it's weight in gold, in terms of overall ease and progress.
Thanks for the informative post!
How to make that one shut up?
A critic can bring useful questions, can help you assess the true weaknesses of a piece of work, but just plain bad-mouthing isn't helpful.
I suggest reading the chapter, "Radio Station KFKD" in Anne Lamott's book BIRD BY BIRD. If you're sensitive to cursing, I'll let you know that the language is strong. But the message of that chapter is about dealing with those negative voices in the head. And then read the chapter called "Giving," because remember, there's a strong likelihood that what you're writing is a gift that someone somewhere needs. Maybe even you.
"You're 47 years old, you never wrote anything but term papers and journals and NOW you think you're a *cough* *hack* Writer?!? {hysterical laughter} You're kidding, right?"
Please, someone, send me some Critic-Be-Gone spray.
Dale