Do you ever feel as if your critique group is going nowhere? Do
you dread attending meetings, or look forward to the snacks and chat
more than the time spent discussing members' writing? As a veteran
of both utterly useless and wonderfully helpful critique groups, I've
compiled some simple strategies to help members more efficiently
progress toward their writing goals.
First, learn to focus on what's really important. Shouting
I-gotcha! every time you find a dangling participle or a misplaced
comma in a critique partners' pages is not only demoralizing, it
has almost nothing to do with how real editors and agents judge the
salability of work. I am certainly not saying that basic grammar and
punctuation aren't important. However, you should not waste time
talking about typos, spelling or capitalization errors, and
questionable punctuation. These can simply be marked for the author
to examine later. Instead, consider the critical attributes of
marketable fiction. Here are some questions to help guide your
discussion.
Characterization: Are the characters distinctive,
believable, adequately motivated, and consistent? Are their
actions reasonable, based on both their natures and the
circumstances?
Dialogue: Do conversations sound natural when read
aloud? Do different characters have different, consistent styles
of speaking? Does the dialogue move the scene forward?
Scene construction: Is something clearly at stake in
each scene? Does each scene move the story forward?
Pacing: Does the scene pull you along at the appropriate
speed, depending on its place in the larger structure?
Suitability for market: Does the story fit with others in
its genre? Originality is important, but basic reader expectations
must be satisfied if you're going to sell the story. For
example, a genre romance must have a happy ending, a mystery
cannot go unsolved, and a suspense must place the protagonists in
imminent physical or psychological danger.
Another important rule to remember is to check your ego at the
door. Critique group members are frequently at different stages
along their writing paths. Instead of gleefully trouncing the work
of a less experienced member, find something that works in his or
her pages and compliment it. Then choose two or three helpful
recommendations for the member to think about. Giving too many
suggestions causes people to become so defensive that they tend to
resist and learn nothing at all.
When you are the person receiving advice, practice saying these
words. "Thanks for sharing that concern. I'll certainly
consider it." Instead of arguing the point or defending your
version, jot down what your critique partner said - even if you
think it's absolute rubbish. Later, when you're at home, off the
hot seat, and going through your notes, you may see the other person's
point more clearly.
One last attribute that distinguishes a great critique group is
encouragement. When something works, say so, and explain your
comments in detail. Cheer each other's courage as members struggle
toward publication, and celebrate every baby step in that direction.
Function as support groups in good times and bad, and do all in your
power to lift each other's spirits.
Many writers grow so frustrated with poor critique groups that
they abandon them altogether. While it takes time and effort, I can
think of nothing more rewarding than finding - or building - a
group of creative individuals all focused on moving toward their
goals.
Gwyneth Atlee is so happy with her fabulous critique group that
she has dedicated her next novel, Night Winds (Zebra
Historical Romances, July 2000,) to its members.
Copyright
2000, All Rights Reserved.
Please do not reprint without permission from the author.

Gwyneth Atlee lives in the Houston area, where she writes
historical romances for Zebra Books. Her releases include Night
Winds (July 2000), Canyon Song (December 2000), and two Civil
War-set novels due in 2001. You can visit her online at
http://atlee.cjb.net

Have comments you'd like to send the author? Please e-mail Gwyneth
at:gwynethatlee@usa.net or
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