Critique groups help writers make their stories the best they can be

Article by Jennifer Stolzer.
Photos by Steven Langhorst.

Critique is essential to any writer’s betterment, but receiving criticism on one’s hard work can be a difficult thing.

“Remember that the goal of critiques is the make the piece the best it can possibly be,” said author/illustrator Jennifer Stolzer during the Aug. 5 workshop. While having pride in one’s work is good, it’s important to remember that first drafts are seldom perfect. 

Jennifer gave an overview of the Guild’s critique group program, which she coordinates. Describing it as a matchmaking service, she said her goal is to match writers with others from similar genres and writing levels.

“Finding the right people is important,” she said. “Generally, you wouldn’t want to pair a brand new writer with one who has published several books.” The Guild’s website, www.stlwritersguild.org, has a form in the Members Room that guides you through the application process. The password is listed each month in the President’s email or request it from: president@stlwritersguild.org

While variety among the members can provide valuable insights, she suggested limiting a critique group to similar genres. “And have guidelines on how to add and remove people from your group.”
When it comes to the actual feedback, one key skill is learning how to handle conflicting advice from your critique partners.

“One person may want more specifics in a scene, while another may want you to leave more to the reader’s imagination.” You can’t do both, so she advised using discernment. “It’s not a checklist of things to do … You don’t have to do everything your critique partners say, but do consider what they tell you. Take the best (advice), and leave the rest. Remember, you are the master of your own castle.”

 Noting that critique partners generally review only one section or chapter at a time, she suggested,  “Think of your work as a whole.” A comment about the need for more specifics may stem from another part of the story, such as a need for more description when the character is introduced, whereas the descriptions in the current chapter may be fine.

Using the “sandwich method” of critique can be helpful in many kinds of situations, not just writing. “You start with a positive comment, then offer your critique, and end with a constructive suggestion.” Ideally, you’ll prompt the writer to fix their own piece and think it’s their own idea. “You make them smile, make them sad, then make them smile again – and that will make them more excited about fixing the stuff in the middle.”

“Simply saying ‘this is bad’ isn’t helpful to anyone, and it’s also mean,” she said. Comments need to be specific and actionable, such as “I think the story actually begins in the second scene.”

To get the most from the critique process, learn to listen without being defensive.

“Be aware of your own personal preferences,” Jennifer said. “Don’t look for things that are wrong—look for things that need improved. Just that shift in mindset helps.” When you receive feedback, keep in mind that their goal is the same as yours—to improve the story.

“As writers, we can never get the ‘first-reader’ perspective,” she said, which is one thing critique partners and beta readers provide.
She shared a handout entitled “Beta Reading Worksheet” from Jami Gold, http://jamigold.com/for-writers, that offered questions to consider when reviewing your own or someone else’s work, such as:

Does the manuscript begin in the right place?

Do the characters’ goals seem believable, with well-drawn and appropriate emotion?

Are there enough stakes and/or tension throughout to make it a “page-turner?”

Does every scene add to and seem important to the story?

Do the details enhance rather than distract from the story?

Are characters’ voices consistent and distinct from one another?

Does the writing “show” with the senses, using “telling” only as appropriate?

Does the story deliver on the promise of its premise and opening scenes?

Do any sections take you out of the story? (Mark in manuscript.)

She concluded the workshop by handing out a few pages of a story to edit, giving participants the chance to try some of the techniques she had discussed.

Jennifer—who is also the Guild’s secretary--lives and works in St. Louis, MO. She holds a degree in digital media and animation from Webster University, and uses this skill set to create bright and engaging characters in both pictures and words. Her illustration company, Jennifer Stolzer Illustration, has served the St. Louis area and its authors for seven years. Find samples of her work at www.jenniferstolzer.com or on Facebook under Jennifer Stolzer Illustration.