Essay Critiquing Book

Essay Critiquing Book-31
Stir up as many levels of conflict and problems for your protagonist (hero) as you can. And never, never, never solve a problem until you've raised at least two more.Resolution of conflict: Did the conflict and tension in the plots and subplots come to some reasonable ending?

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Were there so many such errors that they made reading the piece difficult for you? For example, I once wrote "fruits of mother nature" and "thoughts burning in his mind", both of which are cliches.

In dialogue cliches are okay if the character would speak that way. For instance, I once wrote: "With tears in her eyes and barely able to speak, the head nurse dialed the Chief of Staff.

"I think reading critiques in general -- perhaps about other unrelated stories -- can help a new critic see how it's done.

For example, I agree to critique a story -- and because I don't know any better, I spout off personal preferences ("I don't like female heroines! Religion turns me off." -- when those things may be central to the story and nothing more than my own tastes).

There are certain things that are important to ALL types of fiction, and any good writer/critiquer should be able to pick them out.

I get some of my best critiques from people who 'never read science fiction'." - Joan Shapiro Read how other critiques are done.That is the kind of conflict that makes stories vitally alive." - Ben Bova in "The Craft of Writing Science Fiction That Sells". If the piece was a novel, could it be improved by more attention to the subplots or have more subplots?Is there emotional conflict WITHIN the main character? Emotional conflict is part of what gets readers interested. Conversely, does it have too many subplots and you got confused about what was happening?Does each chapter/page have enough sensory description?Can the reader easily sense what is happening physically to the main character?Or did the author leave us hanging, wondering what happened?When you finished, were there things that you still felt needed to be explained?Or did they seem so evil or one-sided that they were more like ideal villains? Did the villain seem to be a hero in their own mind?Did the story skip around between the first person or third person point of view (POV)? There is nothing inherently wrong in changing POV, as long as it is not done too often.If the author did leave some conflict unresolved, did they indicate somewhere that future stories are pending? Did some names seem inconsistent with the character? "The reader would have a tough time imagining a two-fisted hero named Elmer Small, but James Retief comes across just fine as a hero in Keith Laumer's stories.Did the author use good enough names for people, places, and things? Similarly, Bubbles La Toure is hardly the name of a saintly nun, whereas Modesty Blaise is a sexy and intriguing name for a female counterpart of James Bond." - Ben Bova.

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