“I suspect that most authors don’t really want criticism, not even constructive criticism. They want straight-out, unabashed, unashamed, fulsome, informed, naked praise, arriving by the shipload every fifteen minutes or so.” ― Neil Gaiman, Writer
Feedback is important. It’s what we want. It’s what we need.
The WHY:
Why do we want or need feedback? Because it helps give us direction. Which way to head towards is important — more or less? bigger or smaller? faster or slower? It forces us to confront choices. Feedback also supplies us with the kind of necessary objectivity towards our art, as it’s near impossible to be the sole judge of our work after much time has been spent being challenged by it. Seeing truthfully is so important and having other (healthy) eyes look helps. Finally, it gives us an update on the status quo, identifying the stage that has been reached and the problems that need addressing. Feedback re-aligns us when we’re off track and keeps us moving forward. We don’t stand still or go backwards when doing art.
If I’m gonna fall, I’m gonna fall forward. At least that way I can see what’s gonna hit me.” — Denzel Washington, Actor.
The WHAT:
The kind of feedback also matters. Feedback should always be as specific as possible, both when it’s received and when it’s given. The lack of clarity is the number one reason for inefficiency and emotional conflict. If it’s not clear, ask again. Better to look stupid now than later. Also, beware of “casual” feedback that’s laced with insincere praise — it’s useless and even misleading.
“Whatever words we utter should be chosen with care for people will hear them and be influenced by them for good or ill.”
— Buddha
The HOW:
What’s usually forgotten when it comes to feedback is how to receive it. We’re all human. Being emotionally committed to our craft naturally puts us in a position to be hurt by comments or suggestions, especially when expectations from either parties are not in harmony. Sometimes, comments can be delivered in highly inappropriate ways — that makes it very tough. But remember this: we’re not here to judge the critic — we need feedback to move on. It’s definitely best when it’s constructive rather than negative, but whatever form it takes it must NOT deter us from the work process. Emotions must be kept at bay. Sometimes, even the nasty kind of feedback can push us forward because our enemies are especially adept at finding our faults. And, when we’re finally skilled enough and ready to break new ground, critics will provide just the right kind of motivation to prove ourselves right.
“Whatever you do, you need courage. Whatever course you decide upon, there is always someone to tell you that you are wrong.” — Ralph Waldo Emerson, Philosopher
The WHO:
What’s most essential to feedback often depends much on where it comes from. If it comes from the client or director (i.e. you’re not the boss) then that’s easy; it’s their product and as paid craftsmen, we’re here to service that demand. If the client wants bright pink walls, we give him bright pink walls. And we do our professional best even if the order keeps changing. Unless we have an exceptional personal relationship with our bosses, we mustn’t question the direction or voice our displeasure.
It’s feedback from other crucial parties that brings complication. If there’s too many cooks in the kitchen — such as having three different supervisors giving conflicting information, then there’s trouble. Always go with what “the boss” at the top of the food chain has specified, get it from the horse’s mouth if possible or ask with respect whose opinion must be served should access to higher powers not be available. Always know the priority and hierarchy of the chain of command. Try to think and see like the boss.
Other complications arise when feedback comes from friends or colleagues. If we find a trusted and proven eye, take the advice. Otherwise know that co-workers aren’t always reliable due to a variety of possible reasons: a lack of superior skill, conflicting interest (i.e. competition) or a perspective without context (i.e. they don’t fully understand the purpose/theme of the work). Sometimes, they can even be too close to the project themselves and have also lost objectivity. Be selective which colleagues to get opinions from. Work closely with them — for continuity and such — but always beware that everyone has their own biases and that self-interest is almost always involved, even if isn’t necessarily malevolent.
If opinions and advice can be obtained from a true teacher or mentor, that’s always best. They’re vested in and personally responsible for our growth and as long as they don’t perceive a threat, they are generally the most reliable when it comes to giving honest professional advice that comes from highly skilled and experienced eyes. These days, however, true mentors are very difficult to find in industry (during work hours) but that doesn’t make them any less essential for any kind of real growth towards mastery. The best, most helpful mentors are those who have both deep and broad levels of experience, who are often skilled at a variety of crafts. They give the kind of rich, realistic feedback and necessary “tough love” often missing in the lives of young artists today.
“You do not choose apprenticeships that seem easy and comfortable.” — Robert Greene, Mastery
“He was a master animator, a virtuoso… Ken Harris did it all.” — Chuck Jones, Director/Animator
Summary:
Once feedback has been received, we move onwards. Whether we find it useful or not, we’ve gone through the process. Again, that’s what matters most. Doing the right thing always liberates us.
“I have already settled it for myself, so flattery and criticism go down the same drain and I am quite free.” — Georgia O’Keeffe, Artist