Spread the love

By Terri Martin

Whether you are (or wish to become) a self-published author or if you are seeking publication through the conventional route of a New York publishing house, good writing should be your number one priority. Top-of-the-line technology and all the latest marketing strategies will not turn mediocrity into excellence. It’s sad but true that there are a lot of good books that never get published and a lot of bad books that do. But that shouldn’t prevent us from always striving to improve our writing – to move the bar up a notch with each effort. You have to believe in yourself as a writer and set very high standards for yourself before you are ready to go public.

Learning to be a good critiquer will help you become a better writer. You will learn to avoid pitfalls – and there are so many! You will learn what pleases you as a reader and a writer. You will make friends (hopefully no enemies). You will gain a support group who will feel your euphoria when you succeed and your pain when you flop. You will have someone who will be a groupie at your book signings!

Do I Really Need to be a Member of a Critique Group?

Of course critique groups aren’t for everyone. Many accomplished authors have gone it alone, learned their craft, honed their skills, and enjoyed great success. They may not have belonged to a critique group, but chances are they had an editor or spouse or SOMEONE to help sift through the prose and weed out the superfluity. Everyone can use a little help from their peers. I prefer to do my own editing, you may say. I really don’t want unqualified people raking over my hard work and cutting it to ribbons. (I mean, who do they think they are?) I’m very choosy about who I let read my manuscript. Perhaps you think some kind-hearted editor at Simon and Shuster will take you under their wing and help you polish your manuscript. Don’t count on it. That doesn’t even happen in the movies. If you are a self-published author, the snappy cover may sell your first book but it will be the good writing that sells the second.

So do a little sole searching. Why don’t you want to share? Do you only want people who will say nice things to read it? Are you afraid that your writing is awful?

Unless you plan on producing books strictly for your own personal satisfaction, you must realize that all kinds of people will be reading your book (at least you hope lots of people will be reading it) – not just those who are “qualified” or will gush praise.

Therefore, fellow authors, prepare to bare your soul. To allow others to read your work-in-progress is metaphorically like standing before your audience sans clothing. You are, in a sense, baring your sole — offering a part of yourself for all to read, see, feel, and experience. As an author you may seek to educate, entertain, or stimulate your readers. Perhaps you can make them laugh or cry. Maybe you will enlighten them, inform them, or help them. Whatever you do, you don’t want to bore or insult them by shoving some self-indulgent drivel at them.

Starting a Critique Group

You need help. You have been struggling to write the Great American Novel for years and you can’t seem to get motivated. You had your spouse read chapter one, but you believe that true love (or the wisdom gained from a long marriage) may have distorted his or her true feelings. What you need is input from other writers. You’ve thought about a critique group, but don’t know who you should ask. And where would you meet and when? You talked with a couple of people at the last UPPAA conference and sure would like to have more discussions with them. Maybe you should start with them.

Perhaps you are a successful author. You already have two books on the market and they are doing well, thank you very much. Why should you spend time with people who are just starting out? Do you think teachers never learn from their students? Is it not possible for a mentor to learn form the person he or she helps? Chances are there is always room for improvement. Once the new writer/critiquer gets up to speed, they may be your best ear for listening and help you to stay on course. You may find that they are reminding you of the exact things that you taught them. Remember, you told me to always write about what I know, what I feel!

Where do I find these people for my group?

You have to get out and meet other people with a commitment to writing. They may not be published and they may not be polished, but they should be resolved. You may meet these people at places like UPPAA conferences or networks, or at work, or at a book signing at the local bookstore. Perhaps you can find an online listserve that has a membership of writers and put out a query to the group.

A group may consist of writers from all genres or a group may limit its focus to just science fiction that takes place on planets starting with the letter Z. I believe a good critiquer should be able to offer useful feedback on any kind of writing, not just their own area of interest. However, if you want a critique group to deal with just mystery, romance, or Christian themes that is certainly your prerogative. However, you should consider that you may be excluding good people simply because they focus on different topics.

Another thing to consider is the size and dynamics of your critique group. If you are meeting face to face (as opposed to online) a small group – six to eight members – will most likely keep things more comfortable. Too large of a group will be frustrating as it will be difficult to get through everyone’s material and also some may be intimidated by all those people.

Group dynamics are important and difficult to predict. Once the group is formed, it’s hard to “vote” somebody out. Such an action would probably cause dissention and may be the demise of the group. Give good thought to who you want to approach when starting up a group. Someone you absolutely love may be lousy in your critique group because (s)he doesn’t really take writing seriously and is more interested in discussing his/her children, job, the football game, or swapping recipes. Someone you may not necessarily socialize with may turn out to be a fantastic critiquer. An individual with an enormous ego will be difficult to deal with as would someone who is heavy into self-flagellation.

Once the group is formed, members can reach a consensus on replacements as openings come up. Like any work setting, a successful relationship is highly dependent on good chemistry. In my experience with a critique group, we had a wonderful and maybe rare relationship where we all knuckled down and did our job and at the same time developed lifelong friendships. We went on retreats where we mixed work with socializing and relaxation. We all grew as a group and as individuals. When I moved away and could no longer be part of the group, I felt as if I were leaving behind my family.

Ok, you are going to get a group going, but what are the rules?

The first rule is that there are no universal rules. A lot depends on what the people in your group feel is needed and what is comfortable. Your group may want to be formal, complete with name, code of conduct, mission statement, bylaws, constitution, and membership dues. That might be a little too restrictive. Others may enjoy a loose session of joke-telling, drinking wine, and bouncing ideas off one another. Fun, but perhaps not too productive. Chances are most groups will need rules and perhaps develop a system for moving things forward. (Time limits, rotating turns, etc.) You may want to establish a cap on the number of people in the group or even have some restrictions on materials (no child pornography). Being a face-to-face group as opposed to an online group makes a difference also. Online groups may need a few more guidelines than a face-to-face as the lack of personal contact tends to loosen inhibitions.

I solicited comments about critique groups from members of a writer’s listserve that I belong to. Many said it was a wonderful and productive experience and others had tales of horror. Of the success stories, it seemed those groups had structure and limits, albeit not rigid. One online group said that they rotate submitting and that you can’t submit your next section/chapter until the process has gone through rotation (or people have passed on their turn) and that you must participate in critiquing all others in the rotation. Others have a looser structure with things being randomly submitted and critiqued. This works fine for a disciplined group. There may be a little informal pressure on those members who seem to be in the doldrums. Perhaps your prodding will give them inspiration. Oh, Carol, I’m dying to know what is going to happen with Vivian. Will she marry John or pursue her lifelong dream of writing a documentary on the albino snipe?

One thing is true for all types of groups: comments should never be cruel or vicious. The well-worn phrase “constructive criticism” comes to mind. Leave the acerbic remarks for the celebrities. Demoralizing another person is mean-spirited and non-productive. Conversely, those on the receiving end must be thick-skinned enough to accept less than glowing reviews of their work. As with all advice, the person whose work is being critiqued need not take every suggestion and observation to heart. It is merely someone’s opinion and you can take it, reject it, or file it away for later consideration. There may be totally opposite reactions by group members to your writing. While one may love your protagonist, another may find her uninspiring. While digesting all the feedback, consider what justification is behind the comment. I didn’t care for your character, Mr. Johnson, because he is a very stereotypical old man – nothing unique. vs I loved Mr. Johnson because he reminded me of so many seniors in our society who are forgotten and unloved. Both good comments!

Being a good critiquer

“Point to the sword of truth. Don’t hack someone to pieces with it.”

– Annie Lamott

You have listened to a chapter from one of your critique group’s members. How do you form your response? Start with something positive. If you can’t find anything positive, you may have a problem as well as the manuscript. Employ your skills and look for the good points that need to be built upon. This can be a brief comment such as “clever idea,” “strong start with action,” “I like this character.” or “this idea really has potential.”

Remember, this isn’t about you. You don’t have to like what the author is writing about – perhaps you loath romance or how-to books — but you need to put aside your personal tastes and look at the construction of the piece that you’re critiquing. Listen to the author as he or she reads. Jot down notes. If you’ve been provided with a hard copy, jot notes in the margin. Let the author read without interruption, then go around the group and offer your feedback.

Be systematic and specific in your critiquing. Try to balance the positives and negatives. The goal is to give suggestions that will improve the author’s manuscript, while being supportive and encouraging.

Start with a global reaction. Overall, how did this piece of writing work for you? Did it accomplish what the author was setting out to do? Perhaps you have now been educated on the hardships endured by the pioneers or maybe you have become drawn into the suspense that an author has created.

Move into the components of the work: dialogue, pace, characterization, research, voice, clarity – whatever is relevant. Ask questions about things that confuse you. Is the confusion because the author has not made it clear, or is it something that will be developed later.

Lastly, point out “nits”. These may seem inconsequential but addressing the small imperfections will be helpful to the author as it is often difficult to catch these things in one’s own work. Common nits may include the repetition of a favorite word, e.g., an article on cooking may use the word “tasty” too many times. Other nits include punctuation, sentence structure, or a poor word choice.

I positively LOVED this chapter! Though an elixir to the writer’s ego, a comment like this should be supported by the reason(s) why. I really enjoyed the beautiful description of Lake Superior as a turquoise jewel or I howled with laughter when he literally handed the steering wheel to his wife. You are telling the author what’s working.

The same goes when the critiquing is negative. “I don’t like the ending,” should be followed with why. “I felt it was too abrupt because . . .”

End your critique with a positive comment.

Being Critiqued

Let those who are critiquing know what stage the manuscript is in (early draft, rewritten, etc.). If you are not comfortable reading your own manuscript, ask someone else to read for you. You may choose to provide hard copies to everyone so they can make notations at the appropriate place. The risk with this is that those who are critiquing might concentrate too much on reading and not really listen. Also, it produces a lot of extra paper that may go to waste. Be a good listener. Don’t interrupt and try to justify or clarify. Focus on what you are being told and don’t break the critiquer’s train of thought. Jot down notes with questions or comments that pop into your mind. Sometimes there will be a need for clarification if the critiquer doesn’t have all the background. Also, It doesn’t hurt to let folks know what you were trying to accomplish even when your clearly missed the mark. I was trying to be funny, not politically incorrect! Your group can help you figure out why you didn’t pull it off. It didn’t work for me because I got turned off by the use of that (word/action).

The length of the material should be limited – perhaps six to eight pages, or a little more if it is important for the whole chapter or section to be read at once. A lot may depend on how much time each person has in order to get through everyone’s material during that meeting. Also, too much material at once is difficult to critique. There is nothing wrong with reading a partial chapter or other piece that is not finished. Perhaps you will get inspiration for that cliffhanger ending to your chapter just by reading it to your group! When you read to your group, naturally you need to put a little effort into your presentation – don’t be deadpan – but it’s not a theatrical production either.

Remember that you are the author, not your critique group. Be true to yourself. Don’t get wishy washy trying to emulate someone else. This is not to say that you can’t extract lessons from other’s good writing. You may not strive to be Dave Barry, but you can think about why he makes you laugh. On the same note, those giving the feedback should not encourage the author to rewrite a sentence in the critiquer’s words. For example, you may encourage the author to better bring across their character’s emotion. The manuscript might say something like: She was embarrassed. You could suggest that the writer show and not tell. But how the writer accomplishes that is their responsibility. She felt the flush of embarrassment burn in her cheeks might be one writer’s style. Another may use dialogue, “Shut up Tom, you’re embarrassing me!”

Face-to-Face vs Online Critique Groups

Writers of the U.P. are a lonely lot. Our population is so scattered that we consider someone living ten miles away to be our backyard neighbor. To meet as a face-to-face group on a regular basis is not practical for everyone because of having to drive great distances in our gas-guzzling four-wheel drive vehicles while negotiating herds of deer, potholes, blinding snowstorms, and the other many hindrances that plague our U.P. highways.

You can still reap the benefits of a critique group by going online or doing Zoom. Just like online education, this allows busy people flexibility and convenience.

Most things that apply to conventional critique groups apply to the online variety. There are benefits and drawbacks from the lack of personal contact. Sometimes it is easier to be honest when one can avoid eye contact. On the other hand, remarks that go beyond helpful also come easier. Group members may be less inspired when not dealing with people personally. Online groups tend to have more turnover and members are less likely to establish a bond. Sometimes there are misunderstandings or breakdowns in communication because there is no body language to signal offense or confusion. Obviously, with a Zoom structure, there is the advantage of seeing one another, but most of us who have Zoomed during the pandemic know it has its drawbacks. Reading aloud may lose something, as sometimes audio or video cuts out or people may accidentally talk over the reader. Still, while perhaps not ideal, it could work and perhaps be combined with an occasional in-person get-together or retreat. Consider these guidelines:

Appoint a mediator to keep things on track and civil. This position could rotate. A little chatting about the weather or a recent illness is ok, but for the most part the group should stay on task. Folks who want to make camping plans, solicit a prayer circle, or discuss the shortcomings of a political candidate should not use the online group or Zoom format to do so.
Try to meet face-to-face occasionally either at a central location or perhaps set up a retreat. Even if you can only pull this off once a year, it is nice to get to know one another personally.
Proofread your offering. A simple typo can change the entire meaning of what you are trying to say. (Wars have started over misunderstandings!)
Ask for clarification. Keyboard communication may lead to misinterpretation. If you’re not clear on what someone is telling you, ask them to reiterate or expand.
Instill timelines for submitting and critiquing to keep things moving.
Decide on a size. The more the merrier or a limit?

Other Tips

For Fiction

Does the beginning hook the reader?
Does the story flow?
Are the characters engaging and real?
Does the main character (protagonist) have a challenge or conflict?
Does the point of view hold true to the character it relates to?
Has the author established a good “voice” in his or her work?
Do the scenes have sufficient tension, suspense, conflict, or action to keep the reader’s interest?
Is the dialogue true to the character?
Does the author show instead of tell?
When a chapter ends, do you want to read more?
Does the ending satisfactorily tie up loose ends and bring the story and characters to an acceptable conclusion?

For Nonfiction

If applicable, is the book well researched?
Is the book well organized with smooth transitions from section to section or chapter to chapter?
If applicable, does the author have plans for photos or illustrations to enhance the book?
Is the writing interesting, entertaining, and/or informative?
Does the book accomplish its goal to inform, educate, entertain, etc?

Universal

Is the style and word choice consistent for the target audience?
Are transitions smooth?
Are the structure, syntax, word choice, and other “mechanics” in order?
Is there anything confusing or unclear?
Does the writing correctly reflect the style of book (formal, humorous, etc.)?
Is there a realistic market for this book?

Interested in participating in a Writing Roundtable?
Bring your latest WIP and join us the Friday before the 2026 Spring Conference! Details will be provided closer to the event.