Challenges of a Critique Group by Tammy Euliano

When I first decided to start writing, I joined my local Writers’ Alliance and was placed in an existing critique group. This was pre-Covid and we met in person at the library. The group was…eclectic, including a 70+ year old former University professor writing a memoir, a woman of similar vintage writing cozy short stories (or at least she apparently had in the past, she wasn’t currently writing), a retired English teacher who had a thing for punctuation and Oxford commas, a 40s year old man writing a sci-fi superhero robot fantasy, and a 20 year old kid writing something within a videogame. The latter insisted on naming people with unpronounceable words that included numbers and other keyboard characters – they would make great passwords, but not much else. None of us was published. Very much the blind leading the blind. Blinder still because of the mish-mash of genres and the fact that I came in in the middle of their manuscripts and no one had anything resembling a synopsis…or knew the word synopsis (including me).

Soon after I joined, the two oldest members dropped out (I’m calling that a coincidence). Then the English teacher and video-game-dude started taking umbrage with each other’s critiques (guess which of them called it umbrage). A couple meetings later, threats were exchanged. I missed the next meeting and soon after received an email asking whether I was comfortable with our youngest member remaining in the group after he went over the table to physically attack the comma policeman. Needless to say, I dropped out of that critique group.

I tried a few on-line groups that lasted anywhere from weeks to months. We didn’t meet, or even Zoom back then, just emailed critiques back and forth. Not bad, but nothing really clicked for me. I tried another group but they were mostly literary and wrote stories where I kept suggesting that something needed to happen. They kicked me out. I tried Savvy Authors' critique partner speed-dating, and swapping chapters and whole manuscripts with people I met at meetings, but nothing lasted more than a few swaps.

Then two things happened: ITW (International Thriller Writers) decided to start a critique group system and I volunteered to be one of the founding members and facilitators, and Mystery Writers of America had room in a new critique group. I decided to do both.

My MWA group is all Florida-based mystery writers led by very successful cozy author, Cheryl Hollon, and includes the author of the Sin City Investigations series, JD Allen, as well as two unpublished but not inexperienced authors who are writing mysteries. We submit 2500 words, critique each other’s submission with Track Changes in Word, then meet by zoom every other week to review the critiques. Four of us met in person once and are planning another weekend retreat next month.

Meanwhile, our ITW critique groups got off the ground after a very formal system was developed and approved (our leader is an attorney). The monthly group I facilitate is composed of all published thriller authors in various sub-genres from around the country (and Canada).

At last I’ve found the critique groups that are helping me become a better writer and that hopefully will stick together. The input I’m receiving is so insightful and is improving my manuscripts as I write. I’m also learning from reading these other authors’ words critically. So what’s different this time? I’m more experienced of course, so I know what I need from my partners; and my manuscripts start off a bit cleaner; and I lucked into great people. But I also find value in the fact we’re writing in and knowledgeable about the same genre.

No question there are benefits to reading widely. And writers of other genres have valuable input. Even readers or very early career writers, can provide useful insight. But for me, at the early stage of a new novel, having authors who know the genre and can advise about pacing and tropes and expectations, and put their comments in actionable terms is immensely powerful and helpful.

How about you? Any great critique group stories/warnings/successes?

The Value of a Writing Tribe

by Tammy Euliano

In April of 2016, early in my encore career of writing, I attended a writing immersion by Margie Lawson at her home near Boulder, CO. Eight women attended, and one of our number started an email chain in advance through which we shared our writing. We were all enthusiastic beginners.

Margie runs a superb course, though it was probably too advanced for any of us. We were still dealing with plot and genre while she was teaching us about rhetorical devices. More important than what we learned were the friendships fostered by those few days together. Seven of the eight continued to talk by Skype or Zoom every month or so since.

Last week, we had our fourth annual reunion retreat at my lake house near Gainesville, Florida. Due to
Covid travel fears, it was smaller than in years past, but still writers came from Minnesota, Washington and Colorado; others joined by Zoom. We wrote during the day, with breaks for long walks with my dogs, or to talk about book marketing or plot problems, or to just go sit on the dock and enjoy the sun. At night we got on Zoom and workshopped each other’s books, set goals for the year, reviewed courses we’d taken, played games, ate too much, stayed up too late, and laughed a LOT.

So what has the group of total beginners accomplished in less than five years? Of the eight, five have published, several more than one book, and one has published NINE (9). The remaining three are hoping for publication by our next meeting.

We are different ages, from early 30s to 70s; with no children, young children, or adult children; married and unmarried; employed and retired, but none of us is a full-time writer. One is a phenomenal book coach and Story Grid editor though.

We each write in a different genre and with very different methods, tools and techniques. We aren’t a critique group and only rarely read each other’s novels, except isolated scenes or general plot discussions, but we work incredibly well as a group. What binds us is an interest in how to tell a good story, and once there, how to get it out for others to read. We celebrate each other’s successes and support each other during the inevitable low points. With the encouragement, support and genuine concern of my fellow Lake House Writers, I’ve achieved my goal of a (soon-to-be) published novel. My hope for readers of our blog is they find a like-minded tribe to share their writing journey, separate from editors and critique partners. Surprisingly, and maybe preferably, you need have little in common, except a love of writing…and my dogs…or wine, that would probably work just as well.

~Tammy 

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Tammy Euliano’s writing is inspired by her day job as a physician, researcher and educator at the University of Florida. Her short fiction has been recognized by Glimmer Train, Bards & Sages, Flash Fiction Magazine, and others. Her debut novel, a medical thriller entitled “Fatal Intent,” will be published by Oceanview March 2, 2021. You can sign up for her newsletter and find more information at https://www.teuliano.com.

Critique Boot Camp

by Annette Dashofy

A number of years ago, Nancy Martin organized a critique boot camp for five of our Pittsburgh Sisters in Crime chapter members, including me. We met for four consecutive Sundays, submitting 50 pages the week prior to the meetings and then reading and offering feedback on each other’s stories. Each week. It was a ton of work but we all walked away better writers. Four of us stuck together to create a critique group, meeting once a month—a breeze after meeting weekly! Over the years, one of those boot camp survivors chose to move on, and we brought in a new addition. For the last four years, Jeff Boarts, Tamara Girardi, Mary Sutton, and I have worked tirelessly on each other’s books and gone from aspiring to published and/or agented authors.

So when Nancy asked me to head up a new group of critique boot campers, I had no choice but to say yes. Last month, five new boot campers and I met for each of the five Sundays in July. We submitted 50 pages and read 250 pages EACH WEEK. In addition, we were editing or drafting new pages. There’s a reason we call it boot camp!

The month became more than just a critique boot camp. I love to teach, and reading the members’ submissions highlighted their individual needs. Each week became a cross between an intensive and a master class on everything from POV to putting tension on the page to police procedure to showing emotion.

 

Pittsburgh Sisters in Crime Boot Campers: Anne Slates, Sharon Wenger, Annette Dashofy, Carol Silvis, Audrey Snyder, and Peter Hayes

Our last Sunday was a “debriefing.” We shared homework (I assigned everyone the task of writing a killer opening line). And we discussed in more depth the shared issue within the group: Point of View.

When the final meeting concluded, I sent them on their way with the suggestion they consider staying together as a group. I think some of them will. I also asked for their reflections on the experience. Here are a few.

From Sharon Wenger: “Going through the review and critique process helped to reinforce ways to improve our stories to make them marketable. I learned from critiquing others and definitely learned from the group's critique of my writing.”  

From Anne Slates: “What was wonderful about the group was the diversity of writing styles, so individual to each author. Each person also tended to make different mistakes. Except POV. There are a few of us with POV issues. Every person brought something different to the table. We all have different strengths when critiquing which, in the end, gave each manuscript a thorough review. There was a great deal of respect, kindness, and levity thrown in. The hours tended to fly by. I will miss our weekly meetings.”

From Carol Silvis: “Boot camp was an invaluable experience. I have learned a lot over the years from conferences and workshops, but boot camp allowed me to see if what I learned transferred to my manuscript pages. Having my work critiqued each week gave me an opportunity to see my strengths and weaknesses. It was also beneficial to me to read such a diverse section of writing.

“There were many lightbulb moments as Annette used examples of our work to drive points home. I can’t thank her and my critique pals enough for their input that was instrumental in improving my manuscript. Everyone offered suggestions to make it stronger and more accurate. It’s amazing what someone else picks up that the writer misses.”

From Peter Hayes: “I found Boot Camp to be tremendously useful. One of the problems I’ve always had (and continue to have) is self-editing my own work, but I’ve discovered over the years that it’s a learnable skill. Fortunately, reading 250 pages every week for critique purposes (in a variety of genres), and hearing everyone’s critiques of each other’s work, reminded me (and hammered home) all the types of things I need to look for in my own work. So I feel like my own self-editing skills took a big step forward.”

While I was the leader and facilitator of this group, I also became a student as well. I love my regular critiquers, but new eyes and new perspectives brought to light some lazy writing habits I’ve fallen into and am working to change.

Have you ever taken part in a high-intensity, high-pressure experience like this? If so, what was your experience like? If not, would you even want to sign up for a writing boot camp?

What Is It?

I’ve worked intermittently on my current novel, Toasting Fear, for a few years. In the meantime, I’ve written and placed many short stories and worked on two other novels. As many of you know, I worked with a critique group while developing Toasting Fear’s first draft, which I’ll never do again since it took too long. I put Toasting Fear on a shelf for a while pondering what I’d do with it. But it wouldn’t leave me alone. Why couldn’t I get it to gel?

Categorizing it gave me fits. At first, I called it a paranormal cozy. There were a few cozy elements but then perhaps not enough to categorize it as such. Then, I realized that in the literary world supernatural and paranormal were two different categories. So, I switched and called it a supernatural, romantic mystery. Unfortunately, there were few spooky moments since I don’t have ghosts. I have angels who refuse to haunt. But there were horror scenes because my angels were battling demons. How could I ever sell this to an agent when I could decide what I was writing? 

At the beginning of the summer, I started reading it again. Then, I started revising. Once I felt confident in the plot, I started wordsmithing—perfecting and polishing. When a new critique group formed from my local writing chapter, I decided to take the plunge and put it out for beta readers.

I must admit, although I made a few grammatical blunders (killer modifiers) that one former English teacher and critique partner caught, the manuscript wasn’t dotted in red. They complimented me on the details, the scenery and characters. I felt good about my efforts except for one thing.

Most of my reviewers couldn’t decide what it was either. After a discussion with one of the reviewers, we concluded that it was an action-adventure. Then another reviewer thought it was a thriller. After researching the structure of thrillers, I admit that supernatural thriller most closely resembles my book.

I did not intend to write a thriller. I shoulda, coulda, woulda written a traditional or a cozy, but the damn muse led me astray. Now that I know what it is, I must revise it to conform to that genre’s structure. The sound you hear is my head knocking against my office wall. I’m a mystery writer—really! 

Growing Pains

I recently joined a critique group for YA authors.  It's a brand new group consisting of 10 women, and we all seem to be about the same age, but that's not the reason I joined.  I joined, so I could get some solid feedback on my writing by others in the field.  It’s nice to have the kudos of friends and family, but another writer’s eye can help point out discrepancies that loved ones might miss in their excitement to be reading something written by someone close to them.

We've only had two meetings so far: the first to meet each other and read one page from our WIP (to get a sense of where everyone is), the second to critique the first chapter of each of our WIPs.  We've agreed to meet once a month and to submit one chapter for each member to review and critique at the next meeting.  We meet for three hours and each author gets about 15 minutes of time devoted to her WIP (each other member gets about two minutes to speak).

I'm not sure quite what to make of the group yet.  I realize it's still too early to know how useful it'll be for me, but I do know a few things already . . .

I'm very green when it comes to knowing how to work in a critique group.  Here at WWK we critique each others' blogs as a courtesy--to make sure our stuff is the best it can be--but it's not a full chapter's worth.  Plus, I'm not the type of person who reads something with a critical eye.  I don't sit there thinking "this character isn't well fleshed-out," or "there isn't enough description here for me to really know where the scene is at" when I stick my nose in a book.  I prefer to become really engaged in the story, and to analyze it in that way would take me right out of the moment.

I clearly don't read as many YA books as the other members do.  When giving their comments about a person's work, these women rattle off book titles and authors as references, sometimes three or four at a time.  I've never heard of more than half of the books they recommend; ditto with the authors.  I feel very inadequate when I hear them all discuss these authors.

Mine is the only mystery in the bunch.  There are at least three dystopian, sci-fi stories in the group, a few normal teen angsty type books, where the main character has some serious emotional issues to work through, and mine.  A couple authors weren't able to make it to this month's meeting, so the working members of the group might dwindle over time.  But I do know that I'm the only mystery writer there.

The main problem here is that I don't read dystopian, or sci-fi, or teen angsty books myself.  So I'm even more at a disadvantage when it comes to critiquing their work.  Firstly, because I don't understand why these fictional worlds are in the state they're in (which I hope will be explained in later chapters), and secondly, because I'm so busy focusing on why the world is the way it is, that I'm paying even less attention to how real the characters, plot, or setting feel to me.  I imagine the others feel the same way about my mystery.

I will say that I feel they gave some very useful feedback on my first chapter.  Some of it I've heard before, and others I hadn't, but that helped me to think more deeply about my WIP.  So, if I'm willing to work my way through stories that I don't normally read, I might learn quite a bit, about my writing, as well as the art of writing, itself.