{"id":2371364,"date":"2015-10-22T11:28:00","date_gmt":"2015-10-22T16:28:00","guid":{"rendered":"https:\/\/clearwaterpress.com\/oneyearnovel\/?p=2371364"},"modified":"2019-02-04T15:42:50","modified_gmt":"2019-02-04T21:42:50","slug":"how-to-make-your-critique-group-genuinely-helpful-part-3","status":"publish","type":"post","link":"https:\/\/clearwaterpress.com\/oneyearnovel\/blog\/how-to-make-your-critique-group-genuinely-helpful-part-3\/","title":{"rendered":"How to Make Your Critique Group Genuinely Helpful, Part 3"},"content":{"rendered":"

\"\"<\/a><\/p>\n

Daniel Schwabauer<\/strong><\/p>\n

Read Part 1: Why You Should Join\u2014or Start\u2014a Critique Group \u00bb<\/a><\/em><\/p>\n

Read Part 2: How to Give Feedback \u00bb<\/a><\/em><\/p>\n

Receiving Feedback<\/strong><\/p>\n

Finding (or starting) a good critique group may be the single most helpful thing you can do to polish your skills as a writer. And growing as a writer is really the point. Yes, a good group will be helpful in revising a novel or a series of short stories. But personal improvement is more important than polishing a single manuscript<\/strong>. Learning to give and receive feedback will help you over a lifetime.<\/p>\n

Last week I outlined what I call the Zoom method, a critique approach that moves from big picture to small. That list of potential manuscript flaws is lengthy, but worth taking the time to understand. When you can spot listed problems in someone else\u2019s work, you are more likely to anticipate and avoid them in your own<\/strong>.<\/p>\n

The really hard work of a critique group is always done by those giving feedback, not the one getting it. To be helpful, the readers in your critique group must spot inconsistencies between what a writer intends and what his text achieves. Good readers try to observe not just a written story, but their own reactions<\/strong> to that story. They have to simultaneously imagine your ten-page pirate battle and notice their own emotional reactions to it. This requires a considerable amount of both story technique and personal awareness.<\/p>\n

But readers are not the only ones responsible for a great critique session. While it is certainly easier to be on the receiving end, the writer has a part to play as well. Here are four rules to observe when your manuscript goes under the microscope.<\/p>\n

Rule #1 – Don’t explain.<\/h3>\n

Writers tend to give too much information before (and after!) a reading.\u00a0If someone has missed a critique session and needs to be filled in to understand what you are about to read, go ahead and tell them what they missed.\u00a0But don\u2019t explain the backstory you left out of your book. Don’t give your group any information not directly available in the text.<\/strong> Doing so provides story context that won\u2019t be shared by other readers. This damages the value of a live critique.<\/p>\n

Similarly, guard the secrecy of what will unfold in later chapters<\/strong> the same way you would in a novel. (Would you ever type, \u201cDear Reader: I know things look bleak for Esmerelda right now, but in the next chapter a rescue helicopter pulls her to safety”? I hope not.)<\/p>\n

In short, don’t give your live group any information that isn\u2019t available to other readers.<\/p>\n

Rule #2 – Value feedback.<\/h3>\n

Feedback that reveals flaws is precious. Cultivate a genuine desire to have the flaws in your work exposed. Critiques are not about you personally. They are not about your abilities as a writer. They are about words on a page<\/strong>: these particular words on these particular pages, and how these particular people were affected.<\/p>\n

Even if someone shares an opinion about your excerpt that you don’t agree with, be grateful for it. You cannot spot every flaw in your own work<\/strong>. You need the help of your peers.\u00a0Don\u2019t ignore legitimate criticism on the basis that \u201cthey just don\u2019t understand.\u201d Yes, you know more about your story than anyone else in the room. That\u2019s what makes your perspective flawed. You actually know too much<\/strong>. Not knowing your story is what makes a critique group valuable. Your readers don’t remember the pages you deleted or the character background work you did before writing. They don’t have any context except what\u2019s in your draft. This is why they can respond to it as typical readers.<\/p>\n

So smile at every red mark. Giggle when your awkward sentences and tired clich\u00e9s are uncovered. Pump your fists when your prose weaknesses and story inconsistencies are exposed.\u00a0Rejoice when readers speak all manner of evil against your story. Rejoice and be glad!<\/p>\n

Rule #3 – Ask questions.<\/h3>\n

After you have listened to every critique, it can be helpful to ask questions for the sake of clarity. But don’t ask questions that aren\u2019t related to your readers\u2019 perceptions. Never ask something like, \u201cWhat if I told you that Bob is really the villain? Then would you like his dialogue?\u201d<\/p>\n

Do ask questions that help you to understand the story experience your readers are having<\/strong>, such as:
\n\u201cDoes this plot twist work?\u201d
\n\u201cWhat do you expect after chapter six?\u201d
\n\u201cWho do you think is behind the assassination attempt?\u201d
\n\u201cWhy did you say you hate Bob\u2019s decision to go home on page 92?\u201d
\n\u201cDoes the situation with Jennifer and Cole seem predictable?\u201d<\/p>\n

Rule #4 – Say \u201cthank you.\u201d<\/h3>\n

Don’t be defensive. Don\u2019t justify your story or defend your writing decisions. Even if their feedback wasn\u2019t helpful, your group just gave you 30 or 40 minutes of their time and focused concentration. Be grateful.<\/strong><\/p>\n

…<\/p>\n

Which of these rules do you struggle with most?<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Daniel Schwabauer:<\/strong>
\nReaders are not the only ones responsible for a great critique session. While it is certainly easier to be on the receiving end, the writer has a part to play as well. 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