I’ve probably mentioned I’m participating in a novel critique group this year.
Every month someone in the group puts their novel up for critique, and the rest of us pull it apart with a view to improvement.
It’s all about critical analysis, but its the passion you need to look for – what people love or… really don’t love.
Unfortunately, every comment that’s not adoration stings a little.
In fact, the more effort someone’s put into a book, the bigger the sting they’ll feel.
Still, feedback’s just feedback – impressions based on what other people would do if it were theirs, and that’s the attitude you need to take into it.
The problem is, it’s easy to get lost in the detail or take things personally. It is your baby, after all.
Once you get over the initial disbelief that everyone else doesn’t love it as much as you do (believe it or not that happens occasionally), you’ll begin to discover some value in what’s said.
Hopefully you’ll see lots of value.
Even so, all of it will all be given with bias due to personal tastes and perspectives, so take a step back and ask yourself a few questions about where you want to take your story and what you want to achieve with it.
If you can do that, you’ll be in a better position to assess the responses.
There are a lot of specific questions you could ask yourself, but only one that’s important at this stage:
“What impression did my story make?”
Seriously. Everything hinges off that question. Specifics can wait.
How people react after reading your novel is the truest test of its worth.
If your critiquers didn’t like it, consider that a reasonable parallel with your intended readers. Translation: poor sales.
You’ll need to weigh their reactions against what you know about the individual critiquers of course, particularly if they’re not in your target audience.
For example, romance writers may not appreciate your military SF novel, but they may know more about developing characters that readers will care about than you do.
In that regard, the greatest thing you can do (from a commercial perspective) is impress readers from other genres.
Everyone’s perspective is valuable, particularly if you concentrate on emotional responses instead of critical analysis.
If you give your novel to ten people and none of them love your story, then it’s probably not working as well as you need it to.
On the flip side, if they’re emailing you for weeks and months afterward with ideas or are demanding to read the sequel, then you know something’s resonated with them.
That’s the magic you’re looking for!
That’s what sells books, and that’s what you need.
Whatever else you do, keep the things that people love and try to figure out why those things resonated with them (if it’s not obvious).
Conversely, consider ways of improving everything they didn’t like – their critical responses will help with this.
You may even come to the conclusion that some of the things you love have to go or be completely reworked.
A good knowledge of story structure and getting readers to care about what happens to your characters helps here.
How you use the knowledge is the hard part, but it can only come after you assess their reactions.
Write another novel if you need more time to gain perspective. It can only help.