Checklist for Giving a Fiction Critique

One of the 10 Tips for Giving A Fiction Critique is to use a checklist. Here is our checklist:

1. GET READY TO READ
2. CONCEPT
3. PLOT
4. CHARACTERS
5. SCENES
6. DIALOGUE
7. NARRATIVE VOICE
8. PACING
9. OTHER OBSERVATIONS
10. DELIVER THE CRITIQUE

Before we start ...
do you want to write fiction faster,
while practicing your craft and your writing process to consistently get better? 

Check out this link to the FREE "Write Fiction Faster ... and better" guide and workbook,
which comes with a FREE companion course
with 23 bite-sized video lessons and 4 worksheets.

1. GET READY TO READ

• Ask & Understand - does the writer have specific areas they want you to focus on in your critique?

• Read as a Reader - what is the genre? what are the reader expectations of this genre?

• Big Picture - look for the big themes, don’t nitpick the details

2. CONCEPT

• Is the concept (idea, premise) original and interesting enough to draw the reader in?

• What is great about the concept? What excites me as a reader and makes me want to read this story?

• Is there some sort of tension (conflict, stakes) that grabs the reader from the beginning, drives the story, and excites the reader throughout? Are there too many (or too few) conflicts?

3. PLOT

• Can you follow the plot clearly from beginning to end, or were there points of confusion?

• Did the plot keep your interest, or did it flag and you lost interest?

• Are there any logical holes in the plot, or other things that don’t seem to make sense?

• Did the plot include one or more plot twists, unexpected turns of events? If not, do you feel as a reader that it’s missing something or is that OK for this type of story?

• Does the story have a satisfying emotional arc?

• Are all the “open loops” resolved for the main plot and any subplots, or are any left hanging unresolved so that, as a reader, you feel you’re missing something?

4. CHARACTERS

• Are key characters described clearly and well, not just externally (“skin”) but also internally (“flesh & blood,” and “soul”). Do they have “layer cake” unexpected characteristics? Do they occupy their space of the story with their own unique voice (in both narration and dialogue), body language, facial expressions, and other characteristics? Can you tell them apart (with a memorable name and clear “tag” for each key character)? 

• Do the characters have strong and believable motivations?

• Is the protagonist sympathetic and likable? If not, is that OK for this story?

• Is the antagonist believable and well-rounded, not just a flat, cardboard “villain”? If not, is that OK for this story?

• Consider the secondary character roles (mentor, sidekick, skeptic) and optional character roles (foil, love interest, emotional, logical, tempter). Are there any of these that are not in the story but that, as a reader of this genre, you would like to see?

• Are the connections between the characters clear and fleshed out? Was there anything especially interesting about their connections? Would you like to see more (or less) connections?

5. SCENES

• Is there a clear purpose for each scene — does the scene advance the plot, reveal character, highlight the theme, build the world? If none of these, should the scene be cut?

• Do the key scenes advance the emotional arc of the story. Is there an emotional arc within the scene?

• Are there (enough) clear connections between scenes (callbacks, foreshadowing, opening and closing loops)?

• How are the story elements of conflict, choice, disruption, and subtext used within the scenes?

• Is the scene told like a mini-story: beginning (challenge), middle (complications), ending (conclusion, cliffhanger)?

• Is there a compelling “button” that brings the scene in for a landing and also pulls the reader to the next scene?

6. DIALOGUE

• Does the dialogue move the PLOT forward?

• Does the dialogue reveal the CHARACTERS?

• Does the dialogue support the key elements of the SCENE (See #5 above)

• Does the dialogue “sing” (i.e. is there a rhythm, tone, speed, and interplay of voices, as in MUSIC)

• Is the dialogue NATURAL, with the “seasoning” of idiosyncrasies that pepper the way real people speak? Is the dialogue true to the characters' environment (including time period and culture)?

• Is the dialogue VARIED by giving each character a distinct voice and speech pattern?

• Is the dialogue (mostly) SHORT with snappy exchanges and lots of white space on the page?

• Does the dialogue leave things UNSAID and trust the reader to pick up on the subtext?

• Is the dialogue interspersed with character ACTION?

• Does the dialogue ring true if you PERFORM it out loud?

7. NARRATIVE VOICE

• Does the voice feel right for the story? For example, does the narrative voice evoke the right mood for the story or is it “off” (ex. quirky/witty voice in a dark, emotional story)?

• Does the voice feel natural, or does it come across either stilted or too “writer-y” (trying to impress)?

• Is the Point of View (POV) consistent or does it shift from one POV to another — if so, are these shifts in POV appropriate, and are they clear to the reader?

8. PACING

• What is the overall pace of the story? Is that pace appropriate for the subject matter? Did you, as a reader, enjoy the pace or wish that it was slower, faster?

• Are there sticky points of lagging pace in the story?

9. OTHER OBSERVATIONS

• What else is great about this story?

• Are there any other points of confusion that we haven’t mentioned above?

• Overall, does the story feel too long, too short, or just right?

• What would you say the overall theme of the story is? Could it be made more clear?

• Does the story feel complete and satisfying? If not, what’s missing?

10. DELIVER THE CRITIQUE

• Use the GOLDEN RULE — Give critiques unto others as you would want to get critiques, considering your tone, and what would be the most helpful insights you would want as the writer. Consider wording such as "good choice / weaker choice" (vs. "good / bad writing")

• Organize your notes into key themes (remember “big picture”)

• Be clear and specific, using examples from the story to illustrate the key themes

• Use the COMPLIMENT SANDWICH structure — what you liked first, then areas to work on, then more of what you liked

• Encourage open dialogue — but give the writer permission to just process the feedback, and allow that the context of the critique may not be conducive to a dialogue

Resources

Here are some resources for giving and getting critiques.

MY FAVORITE ALL-PURPOSE RESOURCE

The Writer's Treasure Chest - everything in one place, curated, organized, this is a great reference for all things writing craft, with tons of prompts, plot/character generators and other tools that can serve as reference material for giving critiques and to inspire you as you process critique feedback and improve your writing.

RELATED ARTICLES

Here are more reference material on the writing craft that can be helpful when giving critiques and to inspire you as you process critique feedback and improve your writing.

• Write Fiction Faster! — How to Speed Up Your Story Writing 
  
  
• Need a Great Idea for Your Next Story? Try the Story IDEA Formula
  
  
• From Idea to Story: 3 Methods to Develop Your Story Idea 
  
  
• How to Write Characters Who Stick in the Reader's Mind 
  
  
• What Makes a Good Story? — Great Scenes! Here's How to Write Them
  
  
• Make Your Story Sing — Write Great Dialogue!
  
  
• Flash Fiction: How To Use It To Supercharge Your Writing 
  
  
• Blast Through Writer's Block: How to Get Unstuck 
  
  
• Find Your Stagecoach — How to Master the Art of Writing Fiction

FREE COURSE, GUIDE AND WORKBOOK

Do you want to write fiction faster, while practicing your craft and your writing process to consistently get better? Check out this link to the "Write Fiction Faster ... and better" guide and workbook, which comes with a companion course with 23 bite-sized video lessons and 4 worksheets.