Critique Groups and Evolution

Groups

As a writer, I find it priceless to be part of a critique group - a good one. I happen to belong to two of those - one for screenwriting and one for fiction (and non-screenwriting). The latter I've belonged to for about 6 years, through its various transformations; the former is new - less than 6 months - and rolled along seamlessly from meeting #1 on. I have to say that I'm very proud of both groups because they have some wonderfully talented writers who give great critique.

I write articles about the craft of screenwriting, I edit others' work in script form, fiction and non-fiction, but editing one's own writing is done with blinders on - we can't help it, it's our own writing and there are things we cannot see. That's why we need others to read our material and point out the things we can't notice, like those nuances we hoped we translated for our audience but failed to.

Why this blog?

I'd like to discuss presenting works in various stages of evolution and how it affects and is affected by a critique group environment. There is a distinct difference in presenting an early (or new) draft to your group versus a previously polished (or near polished) draft. (I only call it a manuscript when it's considered finished.)

Communication with your group is vital, I want to hammer that home. The group needs to know expectations as both readers and writers. Positive feedback is as important as negative, and not in the "oooh, I really liked it" kind of feedback you'd get from a relative or good friend, but in the "don't change this because this really works" way. When a group only concentrates on the bad, the writer can get lost in trying to fix everything, even the parts that are good because they simply don't know they are good!

Early Draft

I'm newly discovering how frustrating presenting early drafts can be. The dynamic between presenting something new versus something you've worked on for a while is shockingly diverse. (I've been bringing projects to groups that have been at the final stages - meaning that they've been through many edits and have in some cases already been through beta readers.) Let's tackle the approach first.

It must be made clear to the group, which means reminders, that you are presenting an early draft. Why? Simply put, the story isn't finished!

Tell your group what it is you're looking for in their critiques. Is it the overall concept, characters, plot, subplots, what?

If your focus changes from meeting to meeting, let the group know. If you're looking for feedback on something specific that was not previously asked, let the group know.

This may seem like common sense and quite obvious, but I find that it is as important for the reader as for the writer to know your objective for that particular session.

So, remind your readers about this being an early draft. It must stay in the critic's mind so that the feedback is aligned with the issues encountered in beginning stages:

• Maybe the story arc is not complete yet because you're presenting the pages as you write them and there isn't any more - it's still all in your head or in an outline that resembles a child's first figure drawing. 
• Maybe you're still tweaking characters - fleshing them out, erasing one, combining two, or haven't yet assembled your entire "cast."
• Maybe things are asked of you that you cannot yet provide:
• A character's motivation in a certain action - you know he needs to do something but you haven't yet gotten to that part or completely worked it out, but you know it's important and it will lead to something important.
• A scene that seems utterly out of another story but will link in later, you're just setting it up here
• Maybe you've rewritten something already in an earlier section and must explain that change in order for the new section to make sense.
• This is a serious issue with presenting early drafts and will be covered further below.
• Maybe your subtext isn't yet subtext, but is blatant, ugly, monstrous and is hacked apart by your group.
• Maybe you're just testing something out and the feedback will guide you toward deciding if it will be kept or not:
• A plot twist
• A character transformation
• A scene - is it necessary?
• Maybe you're trying to figure out if something can be done through dialog versus narrative, or vice versa
• Maybe you have no idea where you're going but you just need to ramble for a while and figure out whether there is something in this idea that woke you up at 2 am and won't let you, even though you are directionless and the ideas the group is feeding you "just won't work!"
• Maybe you just need to shelf this one and go to the next.

Rewrites - not presented

One of the troubles, and not with tribbles (sorry, Star Trek anniversary), is that you may be rewriting earlier pages as you present new ones. So, characters may have changed, a smaller story arc seems unfamiliar without the set up, or you may have completely rethought your main arc!

Making sure you're doing your job by letting the group know about changes you've made is imperative. How can they give you constructive feedback if old outdated information muddles their thoughts? Make sure you're giving them the changes BEFORE your readers go through your material - not AFTER.

Discuss with the group how they would like to see changes. Sometimes they are so vast that earlier pages need to be reread, but as a general refresher and not necessarily for a detailed critique or line edit. I've asked my group to reread large chunks at their leisure (with apologies) just so they can see the changes I've made and I don't expect details, just a general, "Yeah, this is better" or "No, this didn't work" and will ask them to elaborate enough so I can understand where I've failed or where I've succeeded.

Moving Forward

Eventually your piece will get to the polishing stage, as your group accompanied you through the painful awkward beginning stages of the project. Yes, it's a humbling experience but should never be humiliating. It will be painful and as a writer your skin needs to get pretty thick in order to survive the process to a finished manuscript - first you'll get it from your group, then your agent, then your editor! In between there will be the large flood of rejection letters from agents or publishing companies.

What makes a writer a writer? First, the fact that you must write and that nothing can keep you from it. Secondly, that you persevere and will not give up!

Keep writing!