The Truth About Critique Groups

Published by the Writing Cooperative, a Medium publication, 9-29-20

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Writing is a lonely business. Your only companion is a keyboard. But a good writing critique group can counter that isolation with guidance, support, motivation, and resources:

• Craft guidance, such as shared advice on books, workshops, seminars, retreats, and podcasts,
• Emotional support, like celebrating your wins and soothing your defeats after writing rejections, books going out of print, editors leaving, and publishers folding,
• Motivation for growth, meaning affording regularly scheduled meetings, and perhaps writing prompts, contests, and other incentives,
• Industry resources, including submission contacts, networking opportunities, and websites for navigating the industry.

As an author of children’s books, I’ve partaken in countless feedback sessions — in person, online and onsite at writing conferences. But the truth about critique groups is this: Like Goldilocks and the three bears, we all want the perfect chair!

Does this sound familiar? You’re seated with peers at a crowded table, about to read the manuscript you’ve been working on for weeks…then much of the feedback doesn’t seem useful.

Why might that happen? I invited authors online to share their critiquing experiences to see if they meshed with mine.

Critique groups can be confusing

Any writer soliciting feedback must weed through the comments for actionable items. This is no simple task for someone new to writing or entering a group.

Sure, it’s a no brainer when the consensus is unanimous — nobody laughed or everyone wanted the action to start sooner. But it’s hard to construe when the feedback is inconsistent.

Contradictory feedback might be more about certain individuals’ tastes and less about your execution of a text. In the kidlit world, some people prefer boisterous stories over quiet ones. Some are opposed to verse even when it scans well. And some let their personal, political or religious views inform their judgement.

“The great emphasis today on everything in the industry being subjective has led us to believe that all opinions are equally valid and are on equal footing with knowledge of craft,” said children’s author Marcia Hoehne from Wisconsin. “This can result in too many cooks in the kitchen, a situation where the person receiving the critique doesn’t know whom to listen to and what to filter out.”

Feedback that’s all over the map could also be a byproduct of varied talent within a critique group. I’ve met congenial people too easy to please, others better at editing than writing, and seasoned writers with critical strengths and weaknesses. After spending time with a group, you get to know from whom the comments came.

“Some critique groups have been great; others not so much,” said author and food columnist Yvona Fast of Northern New York. “It is important to learn which advice to listen to and which to reject.”

Critique group members tend to wear different hats. You’ll find plot doctors, line editors, rhyme specialists, logic cops, and peers with an ear for dialog. If you’re very fortunate, your group will have a good mix of skills.

But building your own sense of conviction is key. The more you read your work aloud, the more you’ll develop the editor in your head — one nagging you to cut beloved sections that detract from a piece.

Large critique groups are transient

Large critique groups are typically a mix of changeable people writing for a particular genre. The ones I know are connected to organizations and comprised of new writers, some further along, and seasoned mentors generous with their time.

A good turnout may preclude all of the members from reading. Too many opinions can be overwhelming to a recipient. A group heavily populated with novices may elicit misguided advice. And the feedback on chapters could lack continuity since attendees vary from meeting to meeting.

Still, large critique groups do have benefits. Lots of members means holding meetings shouldn’t be a problem, even in the summer. Many listeners in agreement really lets you know where your work lacks clarity or strikes a chord. Large groups can be springboards for sub groups, manuscript swaps, and mentor relationships. And, of course, the more peers to hear your good or bad news, the broader the emotional support.

Though members tend to opt in and out, a big group will typically have one or more experienced facilitator and a core of stable participants. Children’s author Marianne Knowles, longtime leader of a twenty-member critique group in Andover, Massachusetts, finds the intersection of many people from various backgrounds provide a deep well of topical information. “The larger the group, the more knowledge it contains,” Knowles blogged at Writers’ Rumpus, “and the more likely it is that someone else will know something relevant to your work.”

Small critique groups are pretty niche

Small groups seem to suit more practiced authors with aligned goals seeking high level feedback. In small groups, the members become well acquainted with each other’s goals and writing styles. They’re able to read at every meeting. And they delve deeper into the business side of publishing — dealing with agents, editors, contracts, marketing, and speaking engagements.

“I am currently part of two critique groups,” said author-illustrator Valerie Coulman in Southern Oregon. “One is with writers who have lots of industry experience and know the business as well as the craft of writing. The other is a mixed group of amateur writers in different genres and ages and backgrounds who know how to ask really smart questions. Their perspective is invaluable for finding the potential problems I’m blind to, and they’re encouraging but honest. I’ve been in groups like this before that did not work because opinions were…uninformed.”

Small groups may specialize in sub-genres like writing non-fiction, mysteries or fantasy. “Now that most groups are online,” said Hoehne, “it’s much easier to find specialized groups, and I think that’s what we need when we’re ready to seriously level up.”

Small groups foster interpersonal contentedness. The members depend more heavily on one another and can share other aspects of their lives in an intimate setting like a living room.

But downsides of a small group are members becoming too kindly towards each other’s work and having too few people available to schedule a meeting.

A great fit is hard to find

A common complaint about critique groups is that they fail to meet every writer’s skill level.

“I think the challenge is always to put together a group where everyone is at about the same level of expertise, and has the same expectation,” said Lois Peterson, a librarian turned author living in British Columbia.

“If there’s one person who isn’t as advanced,” explained author and artist Ilana Ostrar of Illinois, “the whole group suffers because much more time is spent helping that one person instead of equal time to all. It’s not that we mind helping, it’s just that it should be separate from an entire critique group.”

“Critique groups are beneficial,” added Hoehne, “but one filled with only newbies can be the blind leading the blind.”

New scribes are enthusiastic, but some rely on the critique group as a classroom rather than one of several growth experiences, some try to implement all suggestions rather than selecting what their story needs, and some don’t let their manuscripts rest. They ask a group for new feedback prematurely. They could be hypersensitive to direct feedback too and in turn fear insulting others.

“I have definitely benefited from critique groups, but experience level makes a difference,” said author Chris Eboch in New Mexico, an author of books for kids and adults. “Some are too inexperienced or simply too nice to give tough feedback that would be helpful.”

While many writers form groups when attending regional schools or local chapter meetings of a writing organization, the right group for you may be online.

“I started a critique group and wound up leaving it,” shared Lynne Marie, a picture book author in Florida. “Geographically, it worked, but the people who joined me were less experienced in my genre at the time, which was picture book biography. This made receiving effective feedback difficult.”

Feedback should be constructive

No draft is perfect. Ideally, critique groups will give pointed feedback in a positive manner and strive to understand an author’s intentions.

“My preferred groups,” shared Peterson, “are those in which members are expected to provide text-based responses rather than more general ‘I really liked the story’, or ‘I had problems with the character’ type of input.”

In children’s book writing, specific feedback could address the strength of the title, the overall tone, the opening, closing and structure of a text, word choices, inconsistencies or cliches, and the suitability of a manuscript for its intended audience. Furthermore, a fiction critique would consider plot, logic, and characterizations. Sub-genres, like fantasy, mystery, historical fiction, and science fiction beg more specialized assessments. And critiques of factual books could address how well the content is supported, and the clarity and presentation of the material.

Members of a writing community should frame their feedback in a supportive way. Of course, demoralizing remarks and sarcasm must be taboo. The kidlit critique group that writer Maria Wen Adcock attends on Long Island provides a safe space by encouraging constructive criticism. “We inspire instead of trying to tear down while balancing the need to provide honest feedback.”

Other feedback solutions exist

If you’re looking for feedback on a manuscript, there are other routes to take:

Classes and workshops:

A critique group shouldn’t be your only classroom. In my first group, I was green and on the receiving end. But I augmented that learning with seminars and workshops, books on craft, writing exercises, and reading like a fiend. I’m still an avid student. Learning doesn’t end.

Swap partners:

Manuscript partners create consistency and afford a continuous review of works in progress. “I have two critique partners and an online critique group,” said non-fiction author Annette Whipple in Philadelphia. “We send manuscripts back and forth as we need feedback. My online critique group operates multiple times a year on a schedule.”

Editors-for-hire:

Writers with disposable income seeking quality feedback on a project in its entirely might consider engaging with an editor-for-hire. For $350, I found it incredibly useful to get a 360-degree view in an eight-page report from an editor with twenty years of experience in middle grade novels.

Writing retreats:

Getaways are another option. Eboch praised a retreat critique group where she found the level of feedback deep and detailed, and surprisingly consistent. “People weren’t going on personal opinion but rather on a knowledge and understanding of story structure and appropriate kidlit topics and styles.”

Beta groups:

A beta group is comprised of readers willing to give honest feedback. It could be acquaintances from a book club, fans of your work, or students and teachers able to participate. I recently beta tested material on classes in third, fourth and fifth grade. Their feedback was helpful and hilarious!

Critique groups have additional perks

Critique groups are more than reading rooms. They provide a community of like-minded people who speak your language, support your professional development, lift you up when the industry gets you down, and point out the pitfalls to avoid.

“They saved me from making embarrassing mistakes,” said news producer and writer Jennifer Matarese in New York. “It’s really beneficial to have a group of people who know the business, the struggles and can understand what you are going through.”

A good critique group is a place of giving, getting and belonging. Jane Yolen, a grand dame of children’s literature, residing in Massachusetts and Scotland, has been a dedicated member of critique groups for more than five decades. Why does this critically acclaimed author continue to attend? “For moral support, good critiquing, and laughs. And not bad food values, either!” blogs Yolen. “These women are all smart, fine writers, good critics, and best friends. They do not let me get away with weak or facile writing. Each one has particular critical strengths, but together they make the world’s best teacher of writing. I value them individually and together.”

A good critique group can be a game changer. “If you’re lucky, your critique partners will help you succeed. “Mine are the lifeblood of my writing career,” said Laura Stegman, an arts publicist and author in Los Angeles, “and it took many tries to find good matches.”

On a personal note, if you hit the jackpot, as I did, members of a critique group can be lifelong friends. The one I belong to the longest dubbed itself The Fabulous Four — a little crew of smart, giving women who met through their love of writing and stayed for their love of each other. We grew so close, that when our senior member passed away, her family asked us to deliver a eulogy. Today, we keep Muriel Weinstein’s memory alive by mentioning her name as we share our lives and writing.

My ultimate truth about critique groups is that a special one is a treasure, but I never met a group that didn’t have something to offer. So, if you crave feedback and human contact, take the leap till you find a fit that’s good enough. Giving, getting, and listening to critiques can improve your manuscripts, make you a better editor, and it just might change your life.

Thanks for reading, and I welcome your thoughts on critique communities.

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*Feature image designed by Robot (#32177537 at VectorStock.com)