New article from ManuscriptRx
Jun. 18th, 2009 10:36 am![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
ostarellaNew article from www.ManuscriptRx.com
Writers need other writers: what to look for in a critique partner
By this stage in your writing life, you realize you need constructive feedback from others to help your work really shine. No matter how smoothly and how often that elusive magic we call "flow" might manifest itself in your process, ultimately your work requires the keen eye of someone who has distance from your piece (which can never be you, no matter how long you might keep it buried in a file cabinet).
So you're sold on the "writers need other writers" adage. But how do you go about finding a critique partner or a critique group, and how do you know if they're the right critique partners when you find them?
Finding them...
Your best bet is to start with the Internet (this advice holds true for nearly anything you're seeking, actually...).
Narrow your writing habit down to a specific genre and look for an online presence for that category. For instance, if you're writing for children, the Society of Children's Writers and Illustrators is the best place for discovering all sorts of information that pertains to this genre, including information on finding local and online critique groups. (That's www.scbwi.org.) If romance is your thing, try the Romance Writers of America (www.rwanational.org). Mystery writers should check out Mystery Writers of America at www.mysterywriters.org. You get the idea.
Conferences: Often people think of conferences as a chunk of time dedicated solely to honing their craft. And while this can be reason enough to attend a good conference, use the gathering of like-minded individuals to put feelers out for other individuals in search of critique partners. When you're talking shop over lunch, don't forget to bring the discussion 'round to the subject of feedback buddies.
Libraries: Because writers tend to hang around where books hang out, these hallowed halls can be great places to bump into potential crit groupies. Rather than leaving it to chance, though (you can't very well disrupt every quietly-reading patron to ferret out whether they're writers), look at the community board for information on critique groups looking for members. And if you don't find a notice? Hang your own! Ask your friendly neighborhood librarian whether there are rumors of burgeoning critique groups, or ask that same librarian to start dropping the news about yours. Often libraries will host visiting poets or writers or will hold presentations on writing in general. Attend those and network while you're there.
Evaluating them...
Okay, by now you have some names. Maybe you've decided you want to keep your feedback circle small at first (just you and one other writer), or maybe you've decided to join a group or even start one yourself. How do you know whether these people are right for you? How do you know whether they'll help you accomplish your goals or drain your energy without a meaningful payoff?
There are signs. There are always signs. But be sure not to ignore them.
First and foremost: you must remember that your short-term goal in seeking a feedback partner(s) is to achieve your long-term goal (a great manuscript) faster and more efficiently. That means you must put your needs first when choosing a crit pal. Some people might gasp at what they deem the "selfishness" of that statement, but I see that as self-care rather than selfishness.
Writing takes time. And chances are, you're spending the bulk of your time doing something that pays the bills (which is often something other than writing). This means that your writing/critiquing time is quite precious, and therefore you can't waste it on placating unhelpful writing partners by continuing in a group you're getting nothing useful from. When it comes to those few hours each week you devote to writing, do what inspires and motivates and challenges you in a productive way. Cut the rest.
The key elements to consider when looking for a feedback partner:
1. Find someone writing in the same genre as yours.
This isn't mandatory, but it's awfully helpful. Think about Renoir trying to offer Warhol suggestions. I doubt either would comfortably wrap his brain around the other's work. Similarly, it's most helpful if your partner is writing with the same audience in mind, or at least has some familiarity with the genre you're writing in. If s/he can't stand fantasy and you're writing fantasy, you won't get much out of the sessions.
2. The ability to deliver feedback in a sensitive manner.
A client once complimented me on my "story-side manner," referring to the way I deliver feedback. In contrast, she said, she has encountered some nearly vicious writers over the years, people who leap at the chance to "criticize" but don't take the time to point out the places where the writing sings or meets the mark. If your critique partner starts each sentence with, "I'm sorry, but this is awful..." or "You are doing this all wrong..." and if s/he isn't open to broaching comments in a different way (i.e., "As a reader, I felt my attention wandering here..." or "I wonder what would happen if you tried XYZ here instead.") then run fast, run far.
Sharing our work is one of the bravest things we'll ever do. It makes us vulnerable to an extreme degree. We don't need to surround ourselves with people priming put-downs. Too many writers have been felled by destructive attitudes like these. Don't wait around and absorb it for months, either. If this person won't treat your work with dignity and respect as they offer suggestions for improvement, even after you make that request (because some people don't realize they're being hurtful or unnecessarily harsh and therefore need it to be pointed out), then it's time for you to look elsewhere.
Having no critique partner at all is better than a having destructive one!
3. Avoid jealous/resentful writers...
...You know the ones: they're forever gossiping about fellow writers and how ridiculous/unfair it is that they've just achieved some success. (They will gossip about you, too.)
No matter how competitive the market is, there is always room for another book. Always. And we should want writers to succeed, because that success has a lovely ripple effect. It means people are reading; it means publishers remain invested in quality work; it means books are still a sound business. So look for writers who want you to succeed. Not instead of them, but in addition to them. (And of course this trait/characteristic won't be immediately apparent, but you'll know within a few meetings.)
4. Your partner should enjoy reading in general (duh...), but should also be a thoughtful reader of your work.
That means s/he should be looking for ways your piece can be improved. This might sound like a no-brainer, but so many people in critique groups never bother with this crucial step.
I'm sure you've experienced critique buddies who have told you that you're brilliant and you should just keep going. "Oh, maybe you have an extra comma on page six, but, other than that, it's totally perfect. You are a literary god!" (Can you see why friends/lovers are usually not the best choice for feedback partners? They [usually] don't want to hurt your feelings. But spared feelings can result in a flat manuscript. Besides, although you might be initially dismayed by all the work you have to do in revision, there's no reason for hurt feelings if your partner delivers feedback in a sensitive manner).
We all love to hear the brilliant thing at one time or another, but that alone can never be a call to grow and improve.
5. Is this person open to feedback?
If s/he shuts down or becomes angry/defensive when you diplomatically, tactfully, gently suggest opportunities for revision/improvement (which is the whole point of this partnership), this can never be a give-and-take relationship, because this individual only wants to hear "You're brilliant! Keep going!" every time you swap work. That person is looking for someone to stroke his/her ego, and, as we said earlier, you don't have time for that. You are seeking someone who can help your manuscript be the best it possibly can, and therefore every writing task you undertake should bring you closer to that goal.
And giving others thoughtful, thorough feedback will help you in your writing. When you're reading things with an eye for how to improve them, you will eventually be a better writer for it.
6. Is this potential critiquer willing to take your work home and look at it?
Despite the fact that many large critique groups function via listening-only (writers read their work aloud to the group), this is not the most effective method for improving your craft. It's true that weekly groups with ten members can't really read and make notes on everyone else's piece, but if you treat the listening-only group as a supplement to a more meaningful partnership, you will get so much more out of the work-swapping process.
Find one or two serious writers who will have a few days before your meeting to think about and comment on your work. They will have much more to say, since your story will have filled their minds for those days. Sleeping on something always brings a fresh, expanded perspective, and manuscripts are no exception.
7. Can your partner consider the bigger picture that you're working toward, or does it seem like his/her vision is limited to only what's on the page?
In other words, does this individual have the capacity to imagine where you're going with the manuscript and come up with ways you can get there more creatively and effectively? That's easier said than done, but the best critique partners pull it off. For instance, can this person tell you that a certain chapter is missing something, be it an emotional knot or a particular character's presence?
Remember that there's always room for growth, in your work and in others' work. Don't accept a feedback partner who can only see what's on the page, at the sentence level, and can't help you work toward conceptualizing your broader goal. (And can't identify things that might be missing on the page.) The best writing buddies challenge us in ways that might make us groan at the enormity of the task at first, but which we'll be grateful for ultimately.
And don't ignore your instinct when you're deciding whether or not to continue with a writer. All too often we ignore that sixth sense, but there's a place for it while we labor away at our desks, and there's a very real place for it when we reach for inter-personal connections that can help our writing grow.
You might ultimately meet some of the nicest people (and perhaps some of the best writers) who just happen to make horrible critique partners. That's often part of the process, so don't waste time bemoaning it or chaining yourself to this person through guilt.
Your manuscript needs you. Your manuscript doesn't want you to fritter away the hours making nice with people masquerading as feedback friends who can't help you raise the bar for yourself. (If you ultimately keep them as friends but drop them as writing buddies, that's fine with your manuscript [your manuscript is not suggesting that you be anti-social, after all...]. But just be clear on their role in your life and within your writing habit.)
Writers need other writers: what to look for in a critique partner
By this stage in your writing life, you realize you need constructive feedback from others to help your work really shine. No matter how smoothly and how often that elusive magic we call "flow" might manifest itself in your process, ultimately your work requires the keen eye of someone who has distance from your piece (which can never be you, no matter how long you might keep it buried in a file cabinet).
So you're sold on the "writers need other writers" adage. But how do you go about finding a critique partner or a critique group, and how do you know if they're the right critique partners when you find them?
Finding them...
Your best bet is to start with the Internet (this advice holds true for nearly anything you're seeking, actually...).
Narrow your writing habit down to a specific genre and look for an online presence for that category. For instance, if you're writing for children, the Society of Children's Writers and Illustrators is the best place for discovering all sorts of information that pertains to this genre, including information on finding local and online critique groups. (That's www.scbwi.org.) If romance is your thing, try the Romance Writers of America (www.rwanational.org). Mystery writers should check out Mystery Writers of America at www.mysterywriters.org. You get the idea.
Conferences: Often people think of conferences as a chunk of time dedicated solely to honing their craft. And while this can be reason enough to attend a good conference, use the gathering of like-minded individuals to put feelers out for other individuals in search of critique partners. When you're talking shop over lunch, don't forget to bring the discussion 'round to the subject of feedback buddies.
Libraries: Because writers tend to hang around where books hang out, these hallowed halls can be great places to bump into potential crit groupies. Rather than leaving it to chance, though (you can't very well disrupt every quietly-reading patron to ferret out whether they're writers), look at the community board for information on critique groups looking for members. And if you don't find a notice? Hang your own! Ask your friendly neighborhood librarian whether there are rumors of burgeoning critique groups, or ask that same librarian to start dropping the news about yours. Often libraries will host visiting poets or writers or will hold presentations on writing in general. Attend those and network while you're there.
Evaluating them...
Okay, by now you have some names. Maybe you've decided you want to keep your feedback circle small at first (just you and one other writer), or maybe you've decided to join a group or even start one yourself. How do you know whether these people are right for you? How do you know whether they'll help you accomplish your goals or drain your energy without a meaningful payoff?
There are signs. There are always signs. But be sure not to ignore them.
First and foremost: you must remember that your short-term goal in seeking a feedback partner(s) is to achieve your long-term goal (a great manuscript) faster and more efficiently. That means you must put your needs first when choosing a crit pal. Some people might gasp at what they deem the "selfishness" of that statement, but I see that as self-care rather than selfishness.
Writing takes time. And chances are, you're spending the bulk of your time doing something that pays the bills (which is often something other than writing). This means that your writing/critiquing time is quite precious, and therefore you can't waste it on placating unhelpful writing partners by continuing in a group you're getting nothing useful from. When it comes to those few hours each week you devote to writing, do what inspires and motivates and challenges you in a productive way. Cut the rest.
The key elements to consider when looking for a feedback partner:
1. Find someone writing in the same genre as yours.
This isn't mandatory, but it's awfully helpful. Think about Renoir trying to offer Warhol suggestions. I doubt either would comfortably wrap his brain around the other's work. Similarly, it's most helpful if your partner is writing with the same audience in mind, or at least has some familiarity with the genre you're writing in. If s/he can't stand fantasy and you're writing fantasy, you won't get much out of the sessions.
2. The ability to deliver feedback in a sensitive manner.
A client once complimented me on my "story-side manner," referring to the way I deliver feedback. In contrast, she said, she has encountered some nearly vicious writers over the years, people who leap at the chance to "criticize" but don't take the time to point out the places where the writing sings or meets the mark. If your critique partner starts each sentence with, "I'm sorry, but this is awful..." or "You are doing this all wrong..." and if s/he isn't open to broaching comments in a different way (i.e., "As a reader, I felt my attention wandering here..." or "I wonder what would happen if you tried XYZ here instead.") then run fast, run far.
Sharing our work is one of the bravest things we'll ever do. It makes us vulnerable to an extreme degree. We don't need to surround ourselves with people priming put-downs. Too many writers have been felled by destructive attitudes like these. Don't wait around and absorb it for months, either. If this person won't treat your work with dignity and respect as they offer suggestions for improvement, even after you make that request (because some people don't realize they're being hurtful or unnecessarily harsh and therefore need it to be pointed out), then it's time for you to look elsewhere.
Having no critique partner at all is better than a having destructive one!
3. Avoid jealous/resentful writers...
...You know the ones: they're forever gossiping about fellow writers and how ridiculous/unfair it is that they've just achieved some success. (They will gossip about you, too.)
No matter how competitive the market is, there is always room for another book. Always. And we should want writers to succeed, because that success has a lovely ripple effect. It means people are reading; it means publishers remain invested in quality work; it means books are still a sound business. So look for writers who want you to succeed. Not instead of them, but in addition to them. (And of course this trait/characteristic won't be immediately apparent, but you'll know within a few meetings.)
4. Your partner should enjoy reading in general (duh...), but should also be a thoughtful reader of your work.
That means s/he should be looking for ways your piece can be improved. This might sound like a no-brainer, but so many people in critique groups never bother with this crucial step.
I'm sure you've experienced critique buddies who have told you that you're brilliant and you should just keep going. "Oh, maybe you have an extra comma on page six, but, other than that, it's totally perfect. You are a literary god!" (Can you see why friends/lovers are usually not the best choice for feedback partners? They [usually] don't want to hurt your feelings. But spared feelings can result in a flat manuscript. Besides, although you might be initially dismayed by all the work you have to do in revision, there's no reason for hurt feelings if your partner delivers feedback in a sensitive manner).
We all love to hear the brilliant thing at one time or another, but that alone can never be a call to grow and improve.
5. Is this person open to feedback?
If s/he shuts down or becomes angry/defensive when you diplomatically, tactfully, gently suggest opportunities for revision/improvement (which is the whole point of this partnership), this can never be a give-and-take relationship, because this individual only wants to hear "You're brilliant! Keep going!" every time you swap work. That person is looking for someone to stroke his/her ego, and, as we said earlier, you don't have time for that. You are seeking someone who can help your manuscript be the best it possibly can, and therefore every writing task you undertake should bring you closer to that goal.
And giving others thoughtful, thorough feedback will help you in your writing. When you're reading things with an eye for how to improve them, you will eventually be a better writer for it.
6. Is this potential critiquer willing to take your work home and look at it?
Despite the fact that many large critique groups function via listening-only (writers read their work aloud to the group), this is not the most effective method for improving your craft. It's true that weekly groups with ten members can't really read and make notes on everyone else's piece, but if you treat the listening-only group as a supplement to a more meaningful partnership, you will get so much more out of the work-swapping process.
Find one or two serious writers who will have a few days before your meeting to think about and comment on your work. They will have much more to say, since your story will have filled their minds for those days. Sleeping on something always brings a fresh, expanded perspective, and manuscripts are no exception.
7. Can your partner consider the bigger picture that you're working toward, or does it seem like his/her vision is limited to only what's on the page?
In other words, does this individual have the capacity to imagine where you're going with the manuscript and come up with ways you can get there more creatively and effectively? That's easier said than done, but the best critique partners pull it off. For instance, can this person tell you that a certain chapter is missing something, be it an emotional knot or a particular character's presence?
Remember that there's always room for growth, in your work and in others' work. Don't accept a feedback partner who can only see what's on the page, at the sentence level, and can't help you work toward conceptualizing your broader goal. (And can't identify things that might be missing on the page.) The best writing buddies challenge us in ways that might make us groan at the enormity of the task at first, but which we'll be grateful for ultimately.
And don't ignore your instinct when you're deciding whether or not to continue with a writer. All too often we ignore that sixth sense, but there's a place for it while we labor away at our desks, and there's a very real place for it when we reach for inter-personal connections that can help our writing grow.
You might ultimately meet some of the nicest people (and perhaps some of the best writers) who just happen to make horrible critique partners. That's often part of the process, so don't waste time bemoaning it or chaining yourself to this person through guilt.
Your manuscript needs you. Your manuscript doesn't want you to fritter away the hours making nice with people masquerading as feedback friends who can't help you raise the bar for yourself. (If you ultimately keep them as friends but drop them as writing buddies, that's fine with your manuscript [your manuscript is not suggesting that you be anti-social, after all...]. But just be clear on their role in your life and within your writing habit.)
