Very nice, GD! You keep writing and we'll keep reviewing.

To that end I'd like to reference Melissa Donovan's "Tips for Critiquing Other Writers' Work" here:

http://www.writingforward.com/writing-tips/tips-for-critiquing-other-writers-work"

Devour the Food, Not the Hostess

Whatever you do or say during your critique, your feedback should be directed at the writing, not the writer. Don’t start your comments with the word “you” — ever. Always refer to the piece, the sentence, the paragraph, the prose, or the narrative. You are judging the work, not the individual who produced it, and though compliments aimed at the writer might be well received, there’s a subtle but significant difference between pointing out flaws in the piece versus the person.

Let the Good Times Roll

When you are giving a critique, always start by emphasizing the good. This is the cardinal rule of effective critiquing, and I cannot emphasize this enough: always start by telling the writer what works and where the strengths lie. By doing this, you’re kicking things off on a positive note. Also, it’s much easier for a writer to hear where they have failed after they hear where they’ve succeeded.

Here are two examples to illustrate this point:

1. The language is effective, with strong, colorful images. I can really see this in my mind quite vividly. However, some of the wording sounds cliché, so one way to make this even stronger would be to come up with alternatives to the more commonly used phrases, like…

2. Well, there are a lot of clichés. You should have tried to use more original word choices. But your imagery is good; I can visualize what the piece is communicating.

The first example is an appropriate critique whereas the second is both unprofessional and inconsiderate. It’s much easier to let a little air out of an inflated balloon than to blow up a deflated one. It’s especially easier on the person who is on the receiving end of your feedback.

Help Clean up the Mess

Eventually, you’ll have to tell the writer where the piece falls short. Do this with grace. Avoid using strong negative language. Don’t repeatedly say things like “this is weak,” “you’re using the wrong words,” or “it’s boring.” Instead, use positive language and phrase your comments as suggestions for improvement:

• This word is vague. A stronger word would be…
• A better word choice would be…
• This could be more compelling or exciting if…

Remember, you’re there to help, not to hurt. If someone appreciates your opinion enough to ask for it, then provide it a manner that is conductive to learning and supportive of the writer’s efforts to improve. Whenever possible, offer concrete suggestions. If you spot a weak word, try to offer a stronger replacement word.

Well, another very interesting thread started by GD.  Bravo! If they don’t have a platinum icon for discussion starter they should create one just for you (maybe call it the GD award).

It is interesting that the comments seem to shift more towards how to give, or write reviews, than to the original “How do you use them.”  Be that as it may, here’s my thoughts.

There are really three types of critiques you get in reviews: opinion, plot, and mechanics. 

Opinion: “I don’t like this, this doesn’t work.”  These cover the spectrum from great help to the totally ignorable.  In one of my stories I was struggling with the proper ending sentence, and in another case with character motivation.  In both, I received reviews which pretty well said, “I don’t think this works.”  Looking over the story I agreed in one case, disagreed in the other, but in both cases I commented on the review and explained my point of view.  This generated a brief discussion and in both cases I came to see the problem more clearly and ended up revising and ending up with a better story.  In another story I don’t give the characters names.  I received reviews which said, “I don’t like not having names.  I find it hard to empathize with a character who does not have a name.”  I tried to explain my reason, and also point out that a name is just a label. If I call a character Man, or Max, or M’’gtnhjejh,  how much of a difference does it make?  (I realize that at one time the rule was that a character’s name HAD to convey characteristics, e.g., Rock Hudson; but I assume that such sobriquets finally passed on after they were made infamous in the porn industry , e.g., Miles Long.) No discussion ensued, so I assumed the reviewer really wasn’t all that interested anyway, and ignored the review.  Also in this category falls the infamous “I really don’t like this genre…” review (so why review the story???).

Plot:  This is the realm of plot inconsistencies and absurdities.  Personally, I am very happy when a reviewer points out that there is a problem with my plot line.  When writing a novel or novelette I try to keep notes and am constantly back checking for consistency.  I agonize over the consistency of my characters.  I must admit that I find that this is a major problem in a number of the stories I’ve reviewed.  Young writers often mistake “cool” for “makes sense” (but then if you’ve been to the movies lately that’s all too understandable).  Quite a while ago I started a thread entitled, “Would Your Character Really Do that?”  It died quickly.  I guess if you are penning a novel about a teen-aged zombie desperately trying to develop an acne cream it probably doesn’t matter, but if you are writing scifi, please at least try.  

Finally, Mechanics.  I will be eternally grateful to Kevin Haggerty for his close reading and careful listing of all the mechanical errors I made in writing the first two chapters of one of my stories.  He made me see what I was doing wrong (Strunk and White things, as he put it).  Also, Carl E. for pointing out that when two people are talking they do not end, or begin, every sentence with the other person’s name (also for pointing out that I committed at least one other of the “10 things that make him sigh”).  These may seem like small things, but they are extremely useful to a writer who is not getting much feedback locally. When someone takes the time to point out what they perceive as grammatical, or other, errors, I always take the time to check into them carefully.

Lastly, Mimi you are never rewriting, only suggesting.  If someone has a gaping hole in their plot and you suggest a way around it, that’s not rewriting, that’s trying to help.  When someone points out a better wording or more fluid sentence that’s not rewriting, that’s trying to help.  No one forces the writer to accept the suggestion. 

P.S. Just finished Hugo’s Les Miserables. Talk about telling, not showing! It would never get published today – what a shame.