Some of the worst critique groups on Earth can seem wonderful, at first.
They’re friendly. They’re supportive. They make you feel good about your writing. But there may be danger signs.
Do they rehash the same tired old stories at every meeting? Do members routinely show up empty-handed? Are they really helping you become a better writer?
Sadly, too many critique groups come to an untimely end because they’ve made a crucial mistake or two.
Before you join a critique group (or start your own), here’s what to look for:
1. Everyone is writing in the same genre (more or less).
At first glance, you might think that having writers in a diverse variety of genres would be helpful.
Unfortunately, it’s not.
If you bring a science fiction story to a group of romance writers (or vice versa), the advice you get will be superficial at best. At worst, it could be misinformed or disrespectful.
But if your group is focused on one genre, you’ll get higher quality feedback. Other members will be better educated in current trends, best-selling works, and established conventions in your genre.
At the very least, make sure that your critique group exclusively accepts fiction. If you meet a random group of poets, essayists, and nonfiction writers, look elsewhere.
2. They value your time.
Much can be said for reading your work out loud. It can help you spot errors that you might otherwise miss on the printed page.
That’s great. But it’s much better to do that on your own time.
Many critique groups require members to read pages aloud. That’s nerve-racking for some people, and too slow for others.
Instead, read pages on your own, and then meet to discuss. That’s a more efficient use of everyone’s time.
3. The same members meet consistently.
Over the years, I’ve attended (and created) several critique groups that were so large they had to break into smaller groups at each meeting.
That becomes a problem if you end up sitting with a random group of people who are unfamiliar with your story. You’ll spend an inordinate amount of time explaining previous chapters, and yet people will still be confused.
That’s not a recipe for insightful feedback.
The solution? Meet with the same consistent group of members every time.
4. They meet in a quiet, comfortable place.
According to my highly unscientific survey, at least 50% of all critique groups meet at Starbucks. That’s unfortunate, because it can mean too many distractions.
Thoughtful feedback requires the ability to think clearly and deeply. The best place to meet is somewhere quiet and relaxed, like a library meeting room or a bookstore. Not in the middle of a crowded coffee shop.
5. Everyone brings new pages.
Perfect is the enemy of done.
There’s no such thing as a perfect book, a perfect chapter, or even a perfect sentence. After a certain number of revisions, your story doesn’t become any better – it just becomes different.
Accordingly, don’t fall into the trap of bringing the same pages back to your critique group every meeting.
Because guess what will happen? The group will find something else wrong with your pages. That’s their job.
Successful groups focus on pushing forward with new material.
6. Everyone contributes.
In successful critique groups, members bring pages every time.
Sure, if you miss the occasional chapter, that’s life. People are busy. But if you’re regularly coming to meetings empty-handed, you have to ask yourself why.
Are you a writer? Writers write. So bring new pages!
What dooms a critique group?
Missing any one of these elements can put a critique group on shaky ground. Missing two or more could doom a group to an awkward breakup.
Make no mistake: going to a good critique group is one of the smartest things you can do.
Do it right, and you can get the feedback you need to finish your book, publish it, and move on to writing the next one.
That’s what a successful critique group is all about.
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In kindergarten, Laurence MacNaughton decided that he wanted to be a scientist when he grew up. “What kind of scientist?” the teacher asked. “A mad scientist,” he declared, “the kind that makes monsters!” Unfortunately, mad science presented limited career opportunities, so instead he turned to writing. is the author of It Happened One Doomsday (scheduled for July 2016 release and now available for pre-order), The Spider Thief, and Conspiracy of Angels. Try his books free at www.LaurenceMacNaughton.com.
Laurence can also be found on Facebook, Twitter, Goodreads, Google+, and his Amazon author page. Subscribe to his newsletter on his website’s page of free stuff.
I joined a group about ten years ago when I was still fairly new to publishing. Many of the members were college English teachers and they were merciless on new writers and authors. Plus there were poets in the group. I quit the group before they depressed me into a pit I’d never recover from.
I belong to a group with seven members who write a variety of genres, ranging from horror to middle grade. I agree with Laurence that same-genre groups are likely to be more effective and more useful, especially to a beginning writer.
The only reason it works well for me is that I also read in all genres. I’m not sure it’s the best choice for other members of our group, and I’m surprised some of them haven’t jumped ship.
This is really useful advice, and I like the insights. I don’t, personally, work with a critique group, but I’ve thought about it. It’s always good to know what works and what doesn’t.
Thanks Margot! If you’ve ever wanted to try critique group, give it a shot. I’ve introduced literally hundreds of new writers to critique groups, and by the end of the first evening, most of them know if they are in the right place or not. Different groups have different personalities, and you just have to jump in and try it. 🙂
I have been in two groups. Both provided great experiences and feedback, and both fell into missing an element or two listed above, as well as, the first one created a Prima Donna.
CG’s are great, nearly indispensable to moving your work forward, when they conform to the list above.
CG’s can be destructive to a writer’s fragile self-esteem if not.
Choose wisely, stay committed, or get out if things start to sour!
Dean, I agree — a good critique group is nearly indispensable.
But the opposite is also true. A bad critique group can be a soul-crushing pit of despair! 🙂 That’s why it why it pays to spot the problems early.
Unfortunately, when you do get a trouble member, it can be tough to address. Sometimes an open, frank discussion can turn things around. Sometimes not. But it’s always worth a try.
And I’d add, do the members respond well to feedback, or do they respond defensively to everything? When criticism is met with defensiveness, the criticism tends to move towards attacking to preempt the defensiveness, and thus justify it. Groups break down into sarcasm, snark, and even shouting.
I’ve seen it too many times, Jason. Usually with writers who are just getting started.
Some critique groups have a policy where only one person is allowed to speak at a time. And the person who is being critiqued is not allowed to respond to comments unless asked a direct question.
Sometimes, it takes years to build the level of trust with other writers to the point where you can have an open, critical discussion without bruising any egos. But when you do get to that point, it’s fantastically productive!
I’ve never joined a critique group, but I might if I found one that met Laurence’s criteria. Groups are never static, and members’ needs evolve, so I think you’d have to regularly assess whether the group remained useful (and whether you were contributing meaningfully), and be prepared to move on when necessary.
Good point, Allan. Groups are constantly changing. There’s always a shift in the mix of skills, needs, and personalities within the group.
The best critique groups I’ve been in are open to considering new ideas when their time comes. It’s just important to remember that everyone gets a vote, and sometimes people need to be prompted to speak up if something is bothering them.
Open communication is key!
From what I’ve heard, an overly critical group or one with a Prima Donna is bad as well.
I’ve never joined a writing or critique group, but I know what to look for if I ever do.
Alex, the very first critique group I ever joined (20 years ago) was absolutely terrible, and I swore off critique groups after that.
But a good friend and published novelist kept nudging me back toward trying a group, and so did my literary agent. Eventually, I tried a new group, and then another, and started making connections with local writers that made a real difference in my writing career.
Now I’m a big believer in critique groups. But only good ones! 🙂