Forming a Writer's Group
Every writer's group is different. I've belonged to groups
that mailed manuscripts, did online critiques, and groups that met in
person. I've tried groups in which all genres were submitted and
groups which restricted the allowed genres.
In all instances, what matters most is that the other members either read your genre or are able to read your story as if
they loved the genre. Readers who do not like or do not read your
genre will not be familiar with the standards set by your market.
As such, their advice is likely to be frustrating and off-target.
Whatever you and your group decide is right for you . . . I recommend following my Critique Guidelines when giving feedback to group members.
In forming a group you and your fellow members must set some guidelines: 1. How many people to you want to allow in the group? 2. How long may the writing piece be that group members submit? 3. Will the pieces be read at the meeting . . . or taken home to be discussed at the following meeting? 4. How often will your group meet? 5. How often are members allowed to submit? 6. Will other members offer their critiques one at a time . . . or will the critique be an open discussion forum? 7. How long will your meetings run? 8. Will your group be social or all business? 9. Where will you meet?
The group which has worked best for me (and my group) has . . . at most 6 members.
Members
may submit at every meeting. We allow submitting two pieces if
they're both short, since currently not every member has been
submitting regularly. When all members are submitting on a
regular basis, we only allow for one piece--either a short story, or a
chapter of a novel. When we were all submitting novels, we have
put limits of no more than 20 pages each.
We require each member make a paper copy of his/her handout for each member. The
paper cost falls on the author, not the members. After all, the
author receives the benefit of the other members' critiques.
The group members take the handouts home and have until the next
meeting to read them and make edits and comments. The members' obligations are to read the handout and give a thoughtful, constructive critique. Even
if a member does not prepare a handout, it still falls on that member
to do the required work. After all, not having a handout was that
member's choice. Doing the reading is part of belonging to the
group. I point these benefits and obligations out because you
may, at times, have members who feel like if they aren't receiving a
critique, they shouldn't have to give one. Remind
them that benefits are available--if they choose to take advantage of
them. But obligations are required as part of group membership
requirements.
The handouts are discussed at the following meeting.
We prefer this method for many reasons. One problem we've
encountered with reading aloud is that the reader is able to interject
emotions into the phrasing with tone of voice and facial expressions,
things which may not be on the page, things the editor to whom the work
was submitted won't see. Also, most grammar, spelling, and
punctuation errors are only visible when seen, not heard.
Furthermore, when reading the story or chapter for ourselves, if
something gives us pause, we can stop and think about it. That
same passage read aloud continues on and we may forget to comment on it
later . . . of if we take notes, we will miss whatever was next being
read. Plus, some things may bother us but we won't immediately
know why it bothers us or how to address it. By
taking the handout home, we have the advantage of reading it, letting
it soak in, thinking about it, and then deliver a more detailed
critique.
We meet every three weeks and usually mark
several meetings ahead on a calendar so members can plan. Due to
holidays or conventions, we'll occasionally have a two or four week gap
between meetings.
In our early days, only one member offered a
critique at a time. Since we've been together for a few years,
we've evolved (or maybe it's devolved) into open discussions. We
found it easier to go through a story on a page-by-page basis with
everyone discussing whatever issues came up and brain-storming the
solution, rather than on a person-by-person basis, in which event one
person might end up repeating earlier concerns. While
we discuss the story, we adhere to the constructive rules of criticism
and the group's aim is to help the author write the best story while
still telling the story the author wants to tell.
Our meetings run as long as they need to. Typically, we start around 11 am on a Saturday and run until 1 or 2 pm.
Open
discussions can run very long. So if your group has a lot of
handouts to discuss, you might wish to establish time limits. If
discussing person-by-person, use a kitchen timer. Usually 5 to 10
minutes is more than enough time apiece. Say you have 6
members--at 10 minutes apiece, that's one hour for one handout.
If you have 6 handouts, that's a 6 hour meeting. So figure
ahead how much time. But cutting down to 5 minutes apiece, the
meeting is cut to three hours.
If you opt for an open discussion, you might set a 30-minute time limit per story.
We
aim toward all business at our meetings. However, we do have a
birthday cake when the meeting falls near a birthday and usually go out
for lunch together afterwards. However, while we are going over a
story, we focus on the story. No side discussions.
We
meet at a house. You can rotate which house you'll meet it, or
select the one that most central to the other members, or the one
better able to accommodate everyone. We find sitting around a
table helps. Not only can you lie out the pages before you--if
you have physical handouts--but also for the one receiving the critique,
he/she has a surface for writing notes. In the past, we've had
some members bring their laptops and type in their notes directly.
Also, sitting at a table will help foster a more business-like
atmosphere. And if you like snacks, you have a place for your
plate or drink.
However, I would recommend less social trappings in the beginning while your new group is developing habits.
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