As storytellers, we rely on the input of others to improve our stories. However, I find that many writers struggle to find meaningful, constructive critiques beyond punctuation and likeability of the main character.
If this sounds like you, don’t fret. In this article, we’re going to put you through a crash course of things to look for when provided a constructive critique. These are the same criteria I look at as a professional story analyst.
By learning these targeted questions and focal areas, you can greatly increase your effectiveness in providing critique to fellow storytellers. These principles apply to storytelling in any medium, including film/TV, novels, short stories, stage plays, games, and so on.
On the Art of Giving Constructive Critique
Before we get into how to critique, I want to first say something about how to give constructive feedback. The keyword is constructive. Your goal is not to tear down the writer’s work or insult them or belittle their efforts, even if the work is terrible. Many gifted writers have started off with poorly conceived or poorly executed work.
Instead, the primary objective is to provide honest but helpful feedback that will ultimately improve the story in some way. Keep all other opinions and judgments to yourself.
If you’re worried about hurting the writer’s feelings, try leading with a positive compliment or something you liked before moving on to a constructive remark.
Common Pitfalls in Writing Critique
In addition to focusing on constructive feedback, you will also want to avoid the following unhelpful missteps:
- Don’t be vague
- Don’t confuse subjective opinion with objective critique
- Avoid “I don’t like”
- Don’t go too heavy on the negatives (always lead with positives)
- Unless they ask for it, don’t overwhelm them with critiques
- Don’t force your viewpoints or writing process on them
- Don’t ignore the genre or storyteller’s intent
- Don’t berate or insult the author
- Always come to the table with empathy
- Never fail to mention how each comment will improve the story
Critique: Main Questions to Ask Yourself
One surefire way to find areas for improvement is to ask yourself the following questions about the story:
- Can you tell what the story is about, or is it all over the place?
- Does the story stick to the main idea, or does it get sidetracked?
- Is there a clearly defined protagonist or protagonists?
- Does the protagonist have a clear goal they are pursuing?
- Is the protagonist proactive in advancing the plot, or do they let the plot happen to them?
- Does the antagonist actively work against the protagonistic forces?
- Does the protagonist face clear obstacles and resistance?
- Is there enough conflict in every scene, or do things seem “too easy”?
- Is the plot creative or interesting, or a boring re-hash?
- Does the story take too long to get going, or does it move too quickly?
- Does the ending satisfactorily conclude questions raised in the story?
This list of questions is helpful because it touches on the biggest areas where stories often need improvement.
Next, let’s go into more detail.
Key Elements of Story Analysis
The key to analyzing a story and providing a qualitative, constructive critique comes down to knowing what areas to look at and what questions to ask.
In this section, we will dig deeper and explore what areas of the story to analyze as well as what questions to ask yourself. Simply answering these questions will give you (and the storyteller) a lot to think about.
Evaluate the following areas:
- Concept
- Structure
- Plot
- Pacing
- Conflict
- Characters
- Dialogue
- Subtext
- Theme
- Setting/Worldbuilding
- Creativity/Originality
The Concept
Consider what the story’s about. You should be able to clearly identify the concept, premise, and what the story is about.
Also ask yourself: Does the story have a clear concept? Has that concept been crafted into a clear premise? (Yep, there’s a difference.) Does the narrative stick to the concept/premise? Does the story deliver on the promise of the premise, or does it shy away? Does the story fully explore the variations and ideas presented in the concept or premise?
The Structure
Think of structure as the order of major events in the story, including the highs and lows. Does the story take too long to get going or does it move too fast (i.e., too aggressive)? Are there clear highs and lows in the narrative? Do major events (plot points) advance the plot at regular and/or appropriate times? Is there an inciting incident or hook? Do major plot points fall in the right places? Is there a clear midpoint, darkest moment, climax, and resolution?
The Plot
Evaluate the plot itself—that is, what happens in the story. Does the plot open with a hook? Is it interesting? Does it make sense? Does the plot maintain an appropriate level of mystery that leads us to keep watching or turn the page? Are there holes in the plot logic? If so, what are they? Does the plot illustrate the theme? Is it properly structured? Does the plot contain the required obligatory scenes (scenes that are absolute must-haves, like the final climactic confrontation between protagonist and antagonistic)?
The Pacing
When you evaluate the plot, you will likely be thinking of pacing as well—how fast or slow the plot moves. It’s worth weighing pacing separately, however, because it can be its own issue.
Ask yourself the following: Is the plot pacing brisk enough? Does it get bogged down or stall? Does the story spend enough time on the big moments and sufficiently little time on unimportant moments? Does the pacing ebb and flow properly, as appropriate? Does the pacing pick up during the climax?
The Conflict
Conflict keeps the audience interested. Without it, the story will feel dull. Conflict can be big or small.
So ask yourself the following: Is there enough conflict, or is the story one giant happy village? Is the conflict appropriate to the setting, concept/premise, characters, and situation? Does the conflict arise out of the obstacles and stakes? Are the stakes high enough? Does the conflict feel natural or forced? Do enough obstacles stand in the way of the protagonist(s) and their end goal/desire? Is there conflict in every scene?
(Think of stakes as the price for failure to achieve a goal.)
The Characters
Next, consider the characters. Characters are a big one because they are we as human beings relate to the story.
Questions to ask: Are there enough characters in the cast, or too many to keep straight? Are they clearly delineated and characterized so they feel unique and individual (mostly for major cast members)? Are the main characters interesting? Do they have a fleshed-out or adequate story arc? Do they change appropriately and/or change the world the world around them? Is there a clear protagonist or group of protagonists? Is there a clear antagonist or antagonistic force? Does the protagonist have a clear goal or something they want? Does the antagonist actively work against the protagonist? Is the protagonist proactive in achieving their goal or desire (good), or are they mostly reactive (not good)? Does the protagonist act on the world around them (good) or does the world act on them instead (not good)?
Remember, the more invested the protagonist is in achieving their goal, the more the audience will want it for them.
The Dialogue
Dialogue arises from character. Dialogue isn’t everyday conversation, but rather a strategic means of externalizing character in the face of conflict and goal/desire-seeking. Good dialogue is hard to achieve.
Questions to ask: Does the dialogue feel natural without having too much filler? Is the dialogue relevant to the conflict? Does it feel natural for the characters or stilted? Is it tight and punchy or long-winded? Do all the characters sound the same (not good) or are they clearly recognizable by their dialogue (good)? Do characters talk too much or too little? Does the storyteller rely on dialogue to advance the plot (not good)? Does the dialogue enhance the narrative or hinder it?
The Subtext
Subtext is the text under the text. What isn’t being said but is really being said. Stories without subtext feel hollow, like something is missing. In short, the story must have subtext to feel flesh-out.
Questions to ask: Is there subtext? Is there enough subtext? Does the subtext add tension to the scenes? Does the subtext feel natural or forced? Does the subtext support the theme, characters, and relationships? Does it support the premise? Does the storyteller deliver subtext through multiple means, and not just dialogue?
The Theme
Consider the overall theme of the piece. Does it fit the narrative and/or world of the story? Does the plot properly execute the theme? Did the storyteller integrate sufficient motifs at all levels of the story that play on that theme? Are signs and symbols adequately knitted into the fabric of the narrative?
The Setting/World Building
Consider the story’s setting and how the world around it is constructed (if applicable). Is the setting conveyed sufficiently? Do you get a “feel” for it or feel immersed in the world/setting? Does the world have enough detail in it to make it feel real, or does it seem like parts are missing? What aspects of the world or setting do you feel are missing?
(For those wanting to get into world-building, I suggest this very engaged Reddit community.)
The Creativity/Originality
Finally, consider the creative aspect. Does the story feel original or a copy of something else? Is the concept or premise original? If not, is it executed with sufficient originality? Does the story take you to new places, explore new ideas, or play out a novel premise? Is the storyteller’s voice and/or style unique or distinct?
Learning the Fundamentals of Story Critique
After reading this article, my hope is that you will now have a grasp on exactly what to look for and where. You also will have gained an idea on how to deliver your feedback constructively. In fact, after learning this much, you’re practically ready to become a junior story analyst yourself!
Questions? Thoughts? Misgivings? Let me know.
Story Science 