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How To Critique Part I - The Narrative Element
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Pre-critique work: Understand the power of the narrative element by reading Andrew Clements, Carl Hiassen, or Patricia MacLachlan. Understand how they interpret their story, and how they write from that underbelly of passion.
What is the Narrative Element: The narrative element strikes at the heart of the story. It is the “passion” of the paragraph. One goal of the narrative element is to make the reader suspend disbelief, and cause him to be willing to follow the writer anywhere.
What to look for:
- Where does the story begin? Does the narrative put you into the story? Is there anything that draws you out or away from the story that the character is telling? Are you engaged, fully and completely, from the opening paragraph and onward? Does each paragraph move the story forward?
- Is the narrative derivative? The narrative should be absolutely unique. Consider this as you critique: does it remind you of another writer to the point where you think, “This is nice, but so-and-so does it better…” If you think the narrative is derivative, stop. Think. Is it actually the narrative element, or is it something that a character said or did? Is the issue truly with the narrative element? And if so, what is it that you think is missing or not unique? Sometimes the use of clichés in the form of words or phrases is all it takes to make a reader think that the narrative is derivative.
- Does the narrative’s rhythm work to reveal the character? If the character growls a lot, is grumpy, angry, destructive – does the narrative support this? Or does it jar you because it seems to diminish or over amplify what the character is going through? The narrative rhythm is important to build tension and conflict. Is it there? Can it be tighter?
- Do scenes unfold? The narrative element should have the power to create vivid scenes in your head as you read. Can you see the castle? Can you smell the fear? Narration can also act as a “director” who prepares the reader for what the character is about to do or say. It isn’t a crime to tell the reader what’s happening, or what’s about to happen, but there has to be strength in the telling.
- Does the narrative reveal the values of the main character, and does it do it believably and unselfconsciously? Does the writer hesitate? Look at the rhythm again, and word choice. Are they appropriate? Are they revealing?
- Does the narrative climax build? Do you get the sense that something is building? That something big is about to happen? That the character is going to change or is about to do something that you’ve been waiting for? Does the narrative hold you in suspense? The narrative element should give the reader a sense as to where the story is heading, and then build tension incrementally throughout the story. An effective technique is to come to a pause, like the calm before a storm, and then hit the reader with the climax and conclusion.
- Is there movement in the narrative element? Do you feel like you are moving with the characters, that there is a sense of something happening?
Rules of Engagement
Part I - The Narrative Element
Part II - Understanding Character and Voice
Part III - Plot Points and Setting
Part IV - Story and Theme
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