I'm a divorced, former house husband and father of two. I trained in fiction writing thirty years ago and am working my craft back into shape.
I think critique of other's work is the best tool I have in improving my thought processes about my own work. There are certain things I will not do in critique: I don't correct grammar or spelling, I will not ask what an author meant, I will not suggest that a story be written another way (such as changing tense), I don't read other critiques before writing my own.
I have an opinion, and that's all I offer. I use personal pronouns to reinforce the fact that critiques I write are my opinion alone. No one should ever think that I am any kind of an authority, ever. I use my opinion in an attempt to improve the work in front of me.
On a personal note, I am interested in almost everything, so I thought it was pointless to start a list in my profile. For example, I wrote the chess club constitution for my college, secured faculty sponsorship and became its first president. I also wrote the tree identification Key that the biology department uses for campus dendrology.
Posts: 56 | Registered: Mar 2014
| IP: Logged |
Please reconsider whether you won't pay attention to grammar for critique responses. The easiest cause for rejection is faulty grammar. Pointing out grammar faults benefits both writer and criiquer as writer. We cannot in any regard correct grammar anyway, nor at anytime except for fragments posted for critique. Only posters, and Ms. Dalton Woodbury on occasion, may correct, revise their posts. We may only point out what doesn't work or does work for us individually: style, craft, voice, and appeal-wise. If a transcendent rhetorical intent trumps an otherwise fault, faulty grammar may actually work, though.
Grammar as part of mechanical style, each as part of rhetoric overall, is part of craft, voice, and appeal, each overlapping with each other harmoniously and enhancing all.
I include for consideration minor, common situational grammar faults, like faulty punctuation and homonym faults, as well as more advanced and extended faults, like faulty clause compounding and highest grammar tiers overall, like logic (logos), credibility (ethos), emotional (pathos), and timeliness (kairos) appeals.