There's the bad eye, the closed eye, the weeping eye, the open eye and the critical eye. I propose that these are a series of eyes, er, steps a writer takes to develop the ability to edit one's own work.
      Editing someone else's work is easy. We tend to bring a more objective approach to a story or book that we are not intimately involved with. We see the loose ends, the dangling modifiers, lack of characterization and poor transitions. In short, the seams. We might even be ready and able to offer advice on how to correct these problems. If only it were that simple within our own work.
      So I offer you a series of steps that I've seen writers go through in the growth process of our craft. There are documented cases of arrested critical eye development at any one of these steps--you know who they are--but lack of contracts and the like is sometimes the best OJT (on-the-job training).

The Bad Eye

      These are the writers that insist their work is Nobel-winning stuff and no one is going to tell them otherwise. Not you, an editor or their mothers. At this stage, often the beginning, the writer is working in a self-imposed void with barely enough room for ego, and no room for criticism of any type. They simply aren't ready.

The Closed Eye

      Here is the true beginning of accepting criticism. Alas, it is assumed with a defensive posture. These are the writers that argue every point you bring up with repartee such as: "I implied that on page three. You must have missed it." Or, "Clearly you don't read enough in the field to understand my intent." Or even, "All my friends read this, and they just loved it." The Closed Eye will grow only when they come to the realization that perhaps there is room for improvement. That and the decision that the time has come to end blacklisting editors or sending same nasty letters post-rejection.

The Weeping Eye

      This is the writer who has achieved a rudimentary understanding that her work could use a little help. It is initially manifested by the throwing up of hands, the pounding of feet and head on hard surfaces, and wailing "What's the point? I'll never be a writer." While briefly cathartic, this behavior is pointless and won't land the writer on the bestseller list. It does, however, separate the real writers from the hopefuls. The real writers will pay attention and get on with it. The hopefuls will return to their less than charming "day jobs" in nagging defeat.
      Note that this stage is often revisited by the established writer when dealing with agents and editors.

The Open Eye

      Pre-Valhalla. Here the writer is open to criticism and considers suggestions in a professional manner. That's not to say the writer changes everything suggested, but weighs it seriously in regard to the long view of the story, editorial relationships and future projects. It is with achievement of this stage that the writer can begin to study her own work for strengths and weaknesses.

The Critical Eye

      Valhalla. Although not a master - that's why we have editors - this writer can examine in as close to an objective view as possible, her own work. She will critically examine the work in question for structure, format, flow, characterization and general story line. These writers will ask themselves a lot of questions, maybe put the work away for a while for further objectivity, and look carefully for signs of seams. The work doesn't go out until it's ready. However long that takes. When it does fall into the hands of the postal service and ultimately an editor, rest assured it's the best that writer can do. But if the editor wants changes, Critical Eye will listen carefully and act accordingly.
      That about sums it up, except for one more thing that I'm still working on: The Third Eye. This is the eye that we all hope to develop, or better yet, wake up with one morning with it wide open and ready for predictions as to what will sell and what won't. Keep in mind that editors, publishers and the New York Stock Exchange are working on this eye harder than you are. Still, it's worth a try.
      Here's looking at you.