Ithaca Genre Fiction Critique Group:
Dedicated to learning better writing through critiquing
The group focuses on genre fiction-- mystery/suspense, romance, sci-fi, fantasy, action, thriller, horror, young adult, etc. Novels, novellas, short stories, flash fiction are appropriate for this group. Ithaca Genre Fiction Critique does not critique nonfiction, magazine and newspaper articles, memoirs, poetry. The group exists solely for the purpose of learning writing through critiquing. The group does not organize activities or exercises, invite speakers, or promote its published members. Members are encouraged to join and participate in other appropriate national and local writing organizations (Mystery Writers of America (MWA), Romance Writers of America (RWA), Science Fiction and Fantasy Writers of America (SFWA), Horror Writers of America (HWA), Society of Children's Book Writers and Illustrators (SCBWI), etc.) for genre-specific networking, market news, promotion opportunities, etc.
Goals of the Group:
Meetings are bi-weekly on Sundays. Door opens about 1pm. Critiquing starts promptly at 1:10pm and goes until sometimes as late as 4:30pm. We take a ten minute break about 3pm. Bring a beverage (and lunch if you need to).
The group has an email list which is used solely for organizing meetings. Since we meet in person, the list should not be used as an online discussion forum. Our yahoo group counterpart may be used for online discussion.
An attendance "roll call" is emailed the week of the meeting. Please reply to all as soon as possible so that everyone can see how the meeting is shaping up. If you're not sure, respond with a "maybe" asap. Let the group know if you'll be late or need to leave early. Some members are an hour's drive away and everyone's time is precious. If there's an issue with weather or we don't have enough attendees or enough reading to make it worthwhile, we cancel and sometimes try for the following week. A summary of attendance, a "recap," is sent out a few days before the meeting. If something comes up unexpectedly, please call someone and/or email the entire group.
We are not a drop-in, public open-mike reading kind of group. Members must be available Sunday afternoons so they can attend regularly.
Members should make the group aware of any special needs/disabilities/allergies, etc.
Material to be critiqued is not emailed in advance. Writer-critiquees read material aloud at the meeting and comments and discussion follow. Extra copies of a piece to pass out are appreciated (but not required) so that critiquers may follow along as the writer-critiquee reads. Copies should have page numbers, preferably the actual page numbers from the novel/story (rather than page numbers beginning with 1 just for the reading) so that people have a sense of where a piece fits into the whole. Save paper. Critiquers can share. Copies may be single-spaced and/or on the back of used paper.
Punctuation errors, misspellings, typos, repeated words, etc. should be marked on the copies, but critiquers must refrain from writing other kinds of comments. All comments and suggestions should be spoken aloud, vetted, so that everyone hears and can agree or disagree. Comments should not be emailed [privately] later to a writer unless/until you're friends.
The maximum number of words that each writer can read at a given meeting is relative and depends on the number and productiveness of members at the time. Word count is determined by word processor. When we have a lot of readers, the maximum is no more than 2000 words each. When we have less members and/or readers, the max could be as much as 3750 words. There is no minimum. Exceptions can be made for publisher or contest deadlines.
The order of reading is established at the beginning of the meeting. Reading order is always longest to shortest--those with most words read first, so that we tackle the most strenuous pieces first while the group is fresh and has energy. New members reading for the first time may read first if they're nervous. A writer bumped from reading at one meeting gets priority at the following meeting.
Once a writer-critiquee finishes reading, the critique begins with a round of positive comments concerning the writer's strengths called "the circle of joy."
Beginning March 15, 2009, we use a modified version of the Amherst Writers Method with two types of critiques:1. The limited critique is briefer and produces less feedback.
Anyone may choose this critique, but it is mandatory for new & unpublished members and returning members (anyone who's missed lots of consecutive meetings). The critique begins with the circle of joy in which we go around the table and each critiquer says one positive comment and only one comment. That's followed by a circle of suggestions--each critiquer makes one suggestion and only one suggestion.Suggestions and comments can be big things or fairly small. A suggestion is more or less a single element/topic. For example, one suggestion might be "I was confused about x because a and b." Or "the character seems inconsistent. In the first scene, she said/did x and y; in the next scene, she said/did a, b, c." Provide enough evidence for the critiquee to understand the point, but avoid lecturing. Critiquers may include a fix in their suggestion.
No questions from critiquers; no answers from critiquees. Please don't put the group leader/moderator in the position of having to cut people off. Critiquers must not drift into a second element/topic. Elaborating on a suggestion someone else made counts as a critiquer's one and only suggestion. A suggestion could be a second positive comment and would count as the one suggestion. Critiquers must choose what they say and how they say it wisely. If you don't have anything to say, pass. If you agree, just say "ditto."
2. The everything critique is for veteran & published members who need and want any and all suggestions. The circle of joy is followed by free-flowing discussion of problems and suggestions.
Writers may not read a piece more than once, unless unusual circumstances apply, such as a contest or publisher deadline. The same material may be read a second time only if many months/years have passed and the piece has been rewritten extensively. This encourages writers to always give the group their personal best the one and only time they read, to be productive rather than endlessly rewriting a first chapter, and to get habituated to using the critique group as a gentler version of the "real world of publishing" in which an editor or agent gives material one chance. (A piece may never be read a third time; in such cases, ask for volunteer readers to critique outside of the meeting.)
Most novelists in the group read an entire novel a chapter/scene(s) at a time over the course of many meetings. Novelists summarize "in previous episodes..." before they begin reading. The summary can take the form of a few sentences of written summary, or novelists might create a one-page, at-a-glance "guide" to their story for use at meetings. The guide might include such elements as a [working] title, a "blurb" (a one paragraph plot summary of the type that would go into a cover letter), a cast of characters, or a very brief outline. The guide serves as a refresher for those who have been following the story as well as background for those who've missed meetings and new members who've never heard anything of the story. Copies of this guide are returned to the writer at the end of the reading to be used again.
The critiquee-writer must not speak during the critique. Defending, justifying, or explaining are not permitted. Critiquees may, however, ask for clarification of a suggestion. We believe the group's reactions to the actual words on the page are invaluable. Writer-critiquees should listen and concentrate on writing down all comments and suggestions for later consideration. The critique is thus preparation for submitting when the writer will not be present to explain and justify to an agent or editor. Please don't put the group leader/moderator in the position of having to cut people off.
Critiquers must not ask questions during the critique, or even phrase suggestions as questions. Although some critiquing methods favor a question method, we've found questions encourage critiquees to respond with counterproductive justifications and explanations which eat up the group's very precious time. Please don't put the group leader/moderator in the position of having to cut people off.
Writers who want help developing an idea or story may request "Plots 'r Us" (instead of a critique) in which the group brainstorms solutions for specific problems with plot, motivation, characters, etc. A writer can talk the group through the problem, or provide a brief written outline or summary. Plots 'r Us works best before writing begins; it is not a substitute for critiquing written material. In general, bringing a fully developed outline for a novel and asking whether the group thinks it's good or the idea will work is not appropriate; writing is about execution.
Critiquers should avoid interrupting each other.
Critiquers should avoid repeating themselves and each other.
Writers may not read a piece that has already been submitted and accepted (and hence can no longer be revised).
Periodically, rules and guidelines are reviewed and adjusted. Suggestions for improvements can be made to the group leader/moderator anytime.
Critiquing should have a considerate yet professional tone.
Writers choose when and how often they read; some writers use the meetings as a personal bi-weekly deadline, others read less frequently.
Be aware of personal preferences. Try to be objective. Avoid subjective comments--"I loved it/I hated it."
Always encourage in the critique. Be constructive and tactful.
Avoid blurting your ideas. Take a minute to consider a diplomatic phrasing of reactions.
Avoid derogatory words such as "stupid."
A writer being critiqued may ask for clarification, but should not defend, argue, or explain.
Writers are free to do whatever they like with feedback--implement it or ignore it. Writers decide later, on their own, after the meeting. They should not discuss their dilemmas or justify their choices during the critique.
Critiquers should offer suggestions and solutions, but avoid rewriting another's story.
Critiquers should be aware of style. Help others develop their style rather than imposing your style on them.
Avoid repeating comments. If you agree, nod.
Avoid making jokes about material.
Be patient. Be sensitive to different writing levels. Gauge comments appropriately without being totally uncritical or totally brutal.
No digressions into other topics during critiquing.
Sharing another writer's ideas or work with someone outside the group is strictly prohibited unless the writer has given permission beforehand.
Although we're a supportive, positive group, we're not a support group, and though we maintain a friendly atmosphere at all times, we're not a group of friends getting together to socialize.
A member may be asked to leave the group for chronically ignoring the guidelines, making other members uncomfortable, or engaging in other unacceptable behavior.
No spitting, hitting, biting, or shooting off guns!
When a member first hits the bestseller list, they buy lunch for the rest of the group at a restaurant of the group's choice.
Writers should not expect "a grade" or "to pass" from the critique. Writers should expect to receive affirmation of their strengths and suggestions for improving their weaknesses. Writers may follow up on the group's suggestions or not, as they wish, depending on their own instincts, goals, and tastes.
Before new writers attend their first meeting, they should take a moment to honestly examine their needs and expectations. Writing is not easy. Even if you don't expect the group to tell you how great your novel/story is, the first critiques are always unsettling in unexpected ways. The group's feedback will never be malicious or destructive, but always expect the group to offer suggestions to make even the most polished piece better and/or publishable.
Writers who get the most out of this critique group are writers who want any and all reactions and suggestions because they know it is the key to publishing success. The current members of the group all have this attitude. The attitude is much more difficult than it sounds, but it can be acquired through hard work if it doesn't come naturally.
This group holds all its members to the standard of publishability. This is a very very high bar, much higher than that of most critique groups or a writing course instructor.
In the beginning, before everyone gets to know each other, it's dangerously easy for facial expressions, body language, and tone to be misunderstood. New writers need to be especially aware of how critiquing is affecting them. No one ever claimed writing was easy. All writers have moments of discouragement and self-doubt, but critiquing should ultimately be empowering through providing tools for self-improvement.
At the first sign that you are becoming more discouraged or overwhelmed by the critiques than empowered, you need to take action. But don't quit! You will, however, need to figure out what works for you. Consider continuing to attend so that you learn by critiquing others, but take a break from being critiqued yourself. Or bring shorter pieces for critique, and/or do some self-study through courses and how-to write books. Also, please speak up and tell us how we can help get you over the hump!
New members may not email us their entire novel, but they may read the entirety a chunk at a time over the course of many meetings. Impatient unpublished writers usually come to realize this approach is best. Typically the critiques of opening chapters, particularly first novels, uncover lots of issues that require extensive rewriting. In most cases, having someone read the entire novel is far too-time consuming for a critiquer and counterproductive for the writer because it generates an overwhelming amount of feedback. However, once novelists make friends in the group, they can seek volunteers for outside-of-the group critiquing of whatever the group as a whole can't accommodate. That could be critiquing an entire novel that's been revised after having been critiqued by the group in chunks, or chapters that can't be re-read at a meeting, or quick turnaround to meet a contest deadline, or a final proofreading before submitting, etc. Negotiate everything--what you need and when and how-- meet over coffee and discuss feedback or just use email. Whatever works.
What can and cannot be expected from this critique group:
What writers need to do on their own outside of the group:
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Updated on September 7, 2009.