By Gail Barrett

“Would you like to join a critique group?” That question, which I received via e-mail from another WRW member a year back, threw me off-balance. I’d been writing for six years, but never considered joining a critique group. Except for soliciting feedback from contest judges and selected friends and relatives, I’d kept my writing private. Did I have the nerve to show my work to fellow writers? Would it help me get published? Exactly how did a critique group work?

Not sure what I was getting into, I joined the group. A year later, I’ve drawn some conclusions about my experience.

The Benefits

Setting Goals: Our group made the commitment to meet twice a month on Saturday mornings. Every member e-mailed one chapter of her current work to the other members before the meeting so we could come prepared to discuss it. That pace nearly killed me because I was teaching high school full-time, but I had to submit something each meeting. I produced far more during the past year than I thought possible.

Camaraderie: At last! I could talk about my beloved book ad nauseum without being threatened with divorce. My critique partners didn’t mind picking apart my characters in excruciating detail. They enjoyed discussing my plot.

I could also share my successes and rejections with other writers who were going through the same emotional wringer. We commiserated and planned. We discussed agents, markets, and strategies. We had fun!

Insights: I no longer had to press my husband or mother for opinions and then endure their vague comments or helpless shrugs. My critique partners could spot flaws in my manuscript and even suggest ways to fix them.

By evaluating my partners’ work, I began to understand what an editor looks for. I learned both from their mistakes and what they did right.

The Drawbacks

Ego: Okay. I’d slaved over my chapter for weeks, poured my heart and soul into every sentence. I was convinced it rivaled Hemingway. A New York agent would snatch it out of the slush pile. I’d get that “major deal” and even sell movie rights.

My critique partners weren’t quite that enthusiastic. They didn’t like my hero. They couldn’t understand my conflict. They thought that snappy dialogue sucked.

When our group first met, we tread carefully on each other’s feelings. We couched negative comments in polite language. But gradually, we got tougher. Once we knew each other, we weren’t afraid to give negative opinions. We critically examined the manuscripts and became more blunt.

That created problems. Taking criticism was tough because I didn’t want to hear bad news. On the other hand, mincing around the truth wouldn’t help me improve. The critique group forced me to set aside my ego and stop taking comments personally. Unless I wanted to spend my life repeating errors, I had to be willing to listen.

At the same time, I had to figure out which suggestions to heed. If most of the group agreed on a point, then I knew I’d better take note. If only one person made a comment, then I had to decide whether to incorporate it into my work or not. Everyone contributed unique and valuable insights, but I had to learn to trust my instincts.

I also had to admit that I wasn’t God’s gift to critique groups, and not all my ideas were brilliant. When my partners didn’t follow my suggestions, I couldn’t take offense.

Fragmentation: Over time, some of us switched genres. At one point, various members of our group were writing category romance, women’s literature, romantic comedy, regency historical, and mainstream mystery. Suddenly, I realized I was trying to comment on types of books I didn’t read. If I wanted to critique effectively, I had to study those genres and make myself better informed.

Would it be better to belong to a group where all members write in the same genre? Maybe, but our diverse group also gave us the flexibility to experiment with our style.

The End?

All groups evolve. Some hang together for years, while others eventually disband. Ours will stay or go, depending on the needs of the members.

In the meantime, I’ve learned what makes an effective critique group. Every member has to have a true desire to be helpful. She must put aside her ego and objectively analyze the work. She has to keep current in the market, study, and continue to grow as a writer.

And for that effort, she’ll travel further down the road towards publishing in the company of good friends. What could be more fun than that?

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Gail Barrett is a high school Spanish teacher who yearns to stay home every day and write.