From "This Sucks" to "This Works": Why You Should Hire Your Inner Critic as Your Editor

In our era of self acceptance and care, it’s easy to label criticism as a bad thing. I mean, if we’re all winners and doing our best is enough, a voice that dares suggest you could try harder doesn’t stand the chance of gaining popularity.

We’ve also talked about silencing your inner critic while writing (here and here), because nothing kills creativity, and stops you from ever completing the manuscript of the novel you’ve always dreamt of writing, like the gnawing voice of doubt.

But what if I told you that shutting that voice down is only half the truth?

A Time to Create, a Time to Critique

They say there’s a time and place for anything. I don’t think that’s entirely true, since there shouldn’t be a time and place for some things—like inflicting physical harm on others or talking loudly in public transportation. But the general idea holds.

And when it comes to writing, there’s a time to run wild with your imagination and a time to sit down and question whether that manuscript in your hands is a pile of organic material.

And who better to help you do that than that internal voice of doubt—that inner critic who questions every idea you’ve ever had?

This criticism doesn’t, and shouldn’t, manifest as trashing your own work or deeming it unworthy of ever meeting the eyes of another sentient being. What it should mean is looking at the foundations of your building and making sure they’re intact: that the structure is strong, the plumbing is in the right place, and the exterior isn’t painted light green with pink polka dots.

In simple terms, a healthy dose of criticism checks whether your book needs work and stops you from unleashing your delulu in its raw form onto the world.

We Need Some Space

While we’re writing, we become so engrossed in our own work that we tend to lose perspective.

The actions, responses, and thoughts of our characters seem obvious and expected, the events self-explanatory, and the descriptions and dialog clear enough for any reasonable reader to understand.

But that might not be the case, and your inner critic can be the first to point it out.

To really lure your inner critic (or inner editor) out and let it do its job, it’s best to put your manuscript down once it’s complete and, despite the temptation to re-read it, let it rest.

Stephen King spoke of locking your manuscript in the drawer for about two weeks, and who am I to argue?

You can put your work away for two weeks, a month, even two. There isn’t a magical timeframe, but the important thing is distancing yourself from your work enough to see it with fresh eyes when you sit down to evaluate it.

When the time comes, put on your mental (or physical) editing glasses and start reading, noting your impressions and thoughts as you go.

You’ll notice that characters who once appeared brilliant and scenes that seemed breathtaking don’t read as well as you thought.

This doesn’t mean your work is terrible, and it’s no reason to declare yourself a failure. It only means there’s still work to do.

Editing with an Iron Fist

When we’re writing a book, we grow attached to our characters and scenes. Nothing seems negotiable. Not that lady who lives with 50 cats next door to your main hero and offers them pancakes every morning, and not that one scene where said hero and a goblin in the woods start a breakdancing competition.

It’s natural to love your work, and it’s a good thing (because if you didn’t enjoy writing your book, what’s the point?). But once the paint has had a chance to dry, it’s wise to take another look at it and ask yourself if it works.

Enter your inner critic. After taking a break from your work, and as you reread your book for the first or second time, pause after each scene and ask yourself a few questions:

1. Is the scene clear and easy to follow?

2. Is it interesting?

3. Does it drive the plot?

4. Does it teach the reader something about a character?

When asking those questions, think from the point of view of your inner critic. This is the time to be ruthless, to consider changing a scene if it’s weak or cutting it entirely if it doesn’t move the plot forward or doesn’t serve a purpose.

You’re Either In or You’re Out

Just as you evaluate your scenes, consider whether your side characters serve a purpose.

This might be tough—we grow attached to them while we’re writing (and who wouldn’t grow attached to that pancake-making crazy cat lady?). But just because you love a character doesn’t mean they belong in the magical realm of your newly written book.

Let your inner critic question your characters just as it questioned your scenes. Ask yourself:

1. Does the character develop and change throughout the book?

2. Do they serve a purpose?

3. Would the book still work without them?

4. Do they contribute to world-building or your main characters?

Not all characters need to grow. Some can act as helpers or adversaries to your main heroes, or simply teach the reader about the world you’ve built through their looks, language, and actions.

But if you answer “no” to all of the above, maybe the character needs to be politely escorted out of the castle.

Conclusion

Writing a book is only the beginning. When the creative work is complete, the analytical one begins. Questioning, criticizing, and poking holes in your own writing is an important—and even essential—part of the process.

As long as you don’t let your inner critic scare and demotivate you into deleting your work and never writing again, that part of yourself can help you improve, refine, and elevate your work by showing you what still needs work.

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