12 Ways to Make That Critique Group Work (Revised and Updated)

Hi Folks,

Note: I originally posted this back in August, 2013. Much has changed since then. I’ve updated it to reflect those changes.

Most notably, I no longer recommend critique groups. At all. Mostly because

1. Criticism (or critique) by definition is a function of the conscious mind. It’s wonderful for “deconstruction,” but worthless for creation. Also,

2. Nobody, even writers who are much farther along the road than you are, can know all the intricacies of your work in progress (WIP),

3. Nobody else can “speak” in YOUR original voice, and

4. I don’t care for books that were basically written by committee. Even if the final product turns out “good,” I can’t help but wonder how much more original and therefore how much better it would have been had the writer simply trusted his or her own voice. But perhaps most importantly,

5. I don’t know and have never heard of a single successful professional fiction writer who workshops (offers up to a critique group) his or her work. Most professional fiction writers jealously guard their WIPs until it’s published, with the exception of showing it (of necessity) to a trusted first reader and/or copyeditor.

Now, what do I mean about “writing by committee”?

Simple. If the other writers in a critique group primarily want to change the writing to reflect the way they would have done it, and if the targeted writer feels obligated to take their advice, that’s writing by committee.

However, all writers are different.

On the surface, participating in a critique group seems an excellent idea, and it probably can be for some writers. Maybe. In fact, I wasn’t always of the opinion that critique groups are harmful. I actually created and facilitated a critique group when I lived in Roswell NM many years ago.

So if you prefer using critique groups or believe them valuable, that’s fine with me. After all, your process can’t directly affect my own creativity or my sales.

So here are some things to look for in a GOOD critique group.

First, if you want to join an established critique group,

1. pick one that has not degenerated into a mutual-admiration society, and

2. pick one that has safeguards in place against a piece of work eventually being written by committee. You will see those safeguards below.

If you want to form or participate in a good critique group that stands at least a chance of actually being beneficial, here’s what you need.

1. A conscientious facilitator who will steer the participants to honesty in their critiques.

A critique group without a facilitator usually will degrade quickly into a mutual-admiration society, a group in which flattery is trump. And a “be nice to me and I’ll be nice to you” atmosphere certainly causes the participants to feel good about themselves, but it also leaves them wondering about the quality of their writing.

2. Limit the size of the group according to the length of time you are able to meet.

For example, there were ten participants in my critique group, but we met for two hours every other week. Each participant had time to read his or her work (if he or she wanted to) and receive the criticism of the other participants.

3. Only one person at a time is the writer in the group.

If you aren’t reading your work to the others at the time, you’re a reader/listener, not a writer. Don’t endeavor to change the person’s writing to fit your style. Rather, point out places where, for you as a reader/listener, the story stumbles or stalls, where you feel you don’t know enough (or you know too much) about a character or a scene, where confusion creeps in, and so on.

4. Don’t require everyone to read every time.

Take off your control-freak boots, flex your tired toes and chill. Everyone can be an active, valuable participant without reading at every meeting. Some people will want to read every time, and others won’t.

5. However, the members all should be serious about writing.

To maintain membership in the group, I suggest that everyone should be encouraged to submit something for critique—even if it’s only one poem or one stanza or one scene from a novel or memoir—at least every other meeting if you meet monthly or every third meeting if you meet more often. Again, though, notice I said “encouraged,” not forced.

However, non-participation (say one member very seldom reads her own work and very seldom comments constructively as a reader/listener) should be grounds for dismissal from the group, especially if there’s a waiting list of folks who are serious about the craft of writing and would like to join. (See 2 above.)

6. Be honest in your critiques.

This is the most important feature of a good critique group. Honesty, even brutal honesty, is critical. After the first session or two, any hurt feelings will subside and those who prefer the mutual-admiration society will have dropped out. The participants who remain will begin to trust each other and appreciate the honest feedback. And when acceptance letters and checks begin replacing rejection letters, they’ll appreciate it even more. Besides, “honest” is not synonymous with “hurtful,” “hateful,” “spiteful” or “mean.”

7. Always provide positive critiques.

But didn’t I just say you should be honest? That’s right, so when you point out what you believe is a flaw in someone’s writing, make it a positive critique by offering a recommendation for improvement. Remember, though, that you’re trying to help the writer improve HIS OR HER work, not make it your own. Besides, you should point out the bright spots as well as the flaws.

8. Bring your “first draft” to your group.

I recommend that your second draft should be a run-through with a spell checker. And a third draft should be your original manuscript to which you’ve applied whatever changes your first reader has recommended IF YOU AGREE with those recommendations.

But if you’re in a critique group, you probably don’t have a first reader and probably still believe you have to write numerous drafts to turn out quality work (you don’t).

So at least give the members of your group your most original effort (your first draft).

9. Perform “blind” readings.

If honest critique is the most important feature of a good critique group (and it is), performing blind readings is a close second. Although this advice goes against the common practice of most critique groups, I’ve found that the author should not provide copies of her work for the other participants.

Instead of trying to read along with the reader, during a blind reading the other participants should be able to listen attentively, noting on a pad any passages that confuse them, stop them cold, or impress them. They might also note passages that either bog the story down or move it along too quickly.

Once the author is finished reading, each participant then offers his or her critique. Blind reading lessens the chance of participants “parroting” each other and leads to a more honest, constructive critique. It also forces the reader to read his or her work aloud, and that is always a good thing.

10. The facilitator should avoid influencing the other participants’ opinions. To do so, the facilitator should offer his or her critique last.

11. Don’t argue with critiques as they’re offered.

This is a non-productive waste of valuable time. Besides, you should respect the opinions of the participants as listeners; that is, don’t expect more from them than they can give. If they were experts, they probably wouldn’t be in the group.

12. Consider every participant’s critique.

Don’t automatically accept or reject any critique. What one listener (reader) likes, another will dislike; what one finds believable, another will find ridiculous.

Carry the critiques home with you, calm down, then use or discard the criticisms one at a time at your leisure. As a rule of thumb, though, if you hear the same critique from more than one participant (after a blind reading), you probably should consider it more seriously.

Overall, critique groups are a paradox. Few group interactions can be as rewarding as a good critique group or as destructive as a bad one. Fortunately, which group you belong to (or whether you belong to one at all) is your choice.

You need answer only one question: How important is your career as a writer?

So if you’re already a member of a group and if the group isn’t working well for you, consider bringing these ideas to the attention of the facilitator; if you aren’t a member of a group yet or are considering forming one, choose wisely. After all, it’s your career.

Okay, but if I don’t recommend critique groups generally, what do I recommend?

Learn from those much farther along the road than you are. Visit Dean Wesley Smith’s blog regularly. I do.

And if I’m farther along the road than you are (26 novels, 4 novellas, and over 180 short stories as of September 5, 2017), consider hopping over to my Daily Journal and subscribing. It’s free, and there I offer insight into the daily life of a professional writers. Several times a week, I toss out writing advice in a Topic of the Day.

‘Til next time, Happy Writing!

Harvey

The Journal, Friday, 7/17

The Day
Rolled out about 2, so back to normal. Checked emails and other things, including Dean’s blog for the past two days. I recommend reading his topic of the night Here and then Here. Great stuff if you want to see why I say you should NOT get an agent, and why you should publish your work and then leave it published.

I also read a lot of the comments on Dean’s posts. Interesting stuff, both for what people “get” and what they don’t.

Started out the day around 4 a.m. (after all of the above) just writing with Wes. My intention for today is to write all day in a series of starts. Should work out well. We’ll see.

I miss writing short stories. I miss the break that gave me from the Wes Crowley storyline and I miss the excitement of as-yet-unknown characters surprising me. I’m going to continue my hiatus from writing shorts for a while yet, but I’ll be starting a new challenge for myself soon.

Now I could just write a short story as it occurs to me, and if a story idea occurs to me strongly enough, I’ll do that. But I’m better motivated when I’ve attached my writing to a goal.

During one break in writing I designed and printed up BusCard1some new business cards. Very basic, just to get the information out there. Here’s one, in case you’re interested.

Topic of the Night: Be Careful Where You Get Advice
I talk often about learning to quiet your conscious, critical mind when you write.

Some of you accomplish that, at least temporarily, and that’s fine. I don’t think anyone has found a way to permanently silence the critical mind. The trick is to remain on guard and to silence it each time it reappears. And it will reappear. It wants to stop you from writing as a way to protect you, remember? If you don’t write, you can’t publish, and if you don’t publish, you aren’t opening yourself to criticism.

So you learn to silence or squelch the critical voice when you sit down to write.

You are determined, even, not to rewrite because finally you’ve understood that rewriting, more often than not, will destroy a perfectly good piece of writing. So far so good.

Then you finish a short story or a chapter in your novel or a scene in your memoir and, for some completely unfathomable reason, you share it with a critique group.

So let me get this straight. You have learned, finally, to trust your subconscious and quiet your own critical voice… and now you’re going to subject your writing to someone ELSE’S critical voice?

Uh, no. Bad idea. Maybe baddest idea ever. Don’t do that.

And if you DO decide to submit your stuff for critique, AT LEAST submit it to people who have a LOT more publications than you do in the same literary genre (i.e., short fiction, essay, novel, etc.) and/or in the same commercial genre (i.e., SF, western, romance, etc.).

My advice today is the same as it was way back in October. Find yourself a good first reader.

Preferably, this person will NOT be a writer and will therefore not be tempted to bring his or her own voice to the work.

Preferably, this person will be an avid reader of the type of work you write.

Then ask that person to tell you about

  • any typos
  • any inconsistencies (character wearing a grey jacket when he goes into a bank and a brown one when he comes out, and
  • anything else at all that confuses the reader or stops the reading cold.

Then go back and fix those places IF YOU AGREE with your first reader. You don’t have to do everything the first reader recommends.

If your first reader starts giving you writing advice, smile, say Thank You and find a new first reader.

Seriously.

Today’s Writing
Started on Book 8 by cycling back through a scene that was bothering me.

My subconscious was nagging me, saying the scene wasn’t complete, but I wasn’t able to see earlier where it was lacking.

Today as I read back through it, the rest of the scene flowed out through my fingers with no prompting from me. I love it when that happens.

Note that this is NOT rewriting. Rewriting is something you do with your conscious, critical mind, counting the number of times you use a particular word or checking to make sure you alternated sentence structures just so or whatever. None of that will improve your work. I promise.

As I expected (and hoped), the writing ran well today in a series of starts. I’m still trying to train myself to write for about an hour (about a thousand words) and then take a break.

Getting pretty good at it. Now if I can just keep doing it that way. (grin) Still, with my overall goal of wanting this novel finished and out before July 25, I think it’s not going to be a problem.

Fiction words: 4018

Writing of The Battle of Tres Caballos (Book 8)
Day 1…… 4125 words. Total words to date…… 4125
Day 2…… 2624 words. Total words to date…… 6749
Day 3…… 2766 words. Total words to date…… 9515
Day 4…… 1412 words. Total words to date…… 10927
Day 5…… 3441 words. Total words to date…… 14368
Day 6…… 1052 words. Total words to date…… 15420
Day 7…… 2486 words. Total words to date…… 17906
Day 8…… 3201 words. Total words to date…… 21107
Day 9…… 3186 words. Total words to date…… 24293
Day 10… 1585 words. Total words to date…… 25878
Day 11… 2178 words. Total words to date…… 28056
Day 12… 1730 words. Total words to date…… 29786
Day 13… 1083 words. Total words to date…… 30869
Day 14… 1784 words. Total words to date…… 32653
Day 15… 4018 words. Total words to date…… 36671

Total fiction words for the month…………… 27405
Total fiction words for the year……………… 433088