Critique Groups Do's and Don't's

Take the Leap
 

The purpose of a critique is to sift out what's wrong. Showcased is your polished masterpiece, ready for publication. Explore your options until you find the most effective, longest lasting way to vet your work.

While working as a freelance writer, my family moved frequently. Luckily, through membership with organizations such as SCBWI, I found a writing group at each juncture. The information gathered here comes from my own membership in different types of groups.

Join a Critique Group or Start your Own

Gather interested prospective members. Make sure each writer is:

• Serious: willing to devote time studying her craft while practicing it.
• Dependable: can be counted on to come to meetings and review members' work.
• Honest: willing to let members know where she stands, as a beginner, intermediate or advanced writer.
• Open: lets members know ahead of time what type of writing she would like to have reviewed.
• Communicative: gives her input on everything from critiquing to helping to run the group.

Rules that Work

• Establish a leader.
• Decide how many members are desired.
• Decide the type of writing preferred, if any. For example:   
• Open Group: Allows all kinds of writing at any level. The advantages are many.               The variety of different types of writing gives the group widely varying points of view. One of the groups I belonged to had a poet, three article writers, and an adult novelist. The group expanded my world.
• Closed Group: Offers members who write only in your genre and are at about the same level. Advantages include powerful know-how in your genre. Potential for longer critiques is possible. Partnering among members is possible for more frequent and indepth critiques. Also, members can help each other stay abreast of conferences, webinars, informational books, etc. When I wrote biosketches for Biography Today, I had deadlines which weren't easy to keep because of my daughters' activities. My writing partner spent one entire day helping me crank out one of my assignments so I could meet the deadline. Whew!
• Agree on one of the following:
• No Homework: a writer brings a chapter, a section or a few pages of a work to be read on the spot. The writer can read her own work or ask another member to read it. During the reading, each member takes notes on a separate piece of paper. After the reading the members go round- robin to share their notes then give their note paper to the writer to take home.
• Homework: each piece of writing is emailed to members by an agreed-upon date, no exceptions. Members critique the work at home and share their results at the meeting. Members' copies are then given to the writer to take home. Writer brings her own copy of her work so she can follow along during the critiques. Critiquer is given a specified amount of time to explain her critique and the writer is given a specific amount of time to ask questions or comments. I've belonged to both types of groups and really have no preference. I found both Open and Closed Groups effective as long as they were run productively.
• A timer: members agree on the amount of time given to each critiquer. Enough time is given so that no one feels rushed. There can be exceptions, along as everyone agrees, if a writer needs more time. However, this is an important rule, especially if the group is large. Everyone deserves a critique. There is nothing worse than having one person take up so much time that the meeting either lasts too long (and everyone gets exhausted, which can weaken enthusiasm), or there isn't enough time for everyone to share their work.
• Cut the Chit Chat: be firm about saving chit chat for later because it's easy to fall into this trap and lose the main purpose for meeting.
• Food or No Food: meet at a public place, if possible, such as a room at the library. Meeting in people's homes can be way too comfortable. These kinds of meetings can incur a serious loss of productivity. One of my favorite groups solved this by having two pot luck meetings a year, summer and winter, at lunchtime. We still worked but relaxed and visited. We even brought white elephant gifts for our winter get-together (in someone's home) during the holidays.

Parting Words of Wisdom

Here is a sprinkling of "focus" notes I keep on my bulletin board as reminders of what I am about as a writer.

• Show, don't tell: spend one (or more) entire revision sit-downs combing your ms for "telling" statements. Turn those into "showing" your readers what's going on.
• Nonfiction articles: one editor's advice was simple. Answer the W's in the first two (or three) paragraphs. Then the rest of your article is the How.
• Nonfiction articles and books: Before embarking on your idea (and spending time on it), make sure you have acquired the photos.
• Write it plain, then make it pretty: I heard this during an editor's talk and have followed it ever since. It's a great tool. The first time(s) "getting it down" you can't possibly expect your writing to shine. All you're doing is pouring your soul onto paper. After you're sure you've written everything you want to say, put your ms for a rest. When you pick it up again, make your writing more interesting; splather your personality all over the page; give it your all.
• Entertain your reader: Just like being a host at a party; if you're having fun, your reader will have fun.
• When in doubt, research: if you're stuck (have writer's block) it might mean that you need to do more research. Fiction and nonfiction alike both have to be accurate, so perhaps you need to spend some time looking something up to learn more about it. If you're stuck on a non-research-type problem, then you might need to rest a bit and do a THINK. One of my writing instructors talked about BIG THINKS a lot. We all keep pen and paper with us at all times. Who knows, you might solve the problem by suggesting what you need before you go to sleep at night. The problem could be solved in the morning or in a few days, depending on the size of the problem. If you can identify the problem as a plot problem, a characterization problem, etc., then study the area in question. You might find your answer there. I think we all know, too, that often our answers come while we're sewing, doing a flower arrangement, or on a walk. So sometimes it's best to do something else that's creative to relax your mind. It often kickstarts your imagination into doing wondrous things.
• Sit your reader down across the table: and talk to him. Tell him your story. You can try this out loud if you've come to a snag.
• Write while sitting on the edge of your seat: that's how you want your reader to be, so engrossed in your story that their eyes light up and their super excited about your story.
• Remember this wisdom from Robert Frost: No tears in the writer, no tears in the reader. No surprise in the writer, no surprise in the reader.

Watch for next month's post: "You, the Writer; You the Critiquer."
Photo: Courtesy of the U.S. Navy

Linda Wilson, a former elementary teacher and ICL graduate, has published over 100 articles for adults and children, and six short stories for children. Recently, she completed Joyce Sweeney's online fiction courses, picture book course and mystery and suspense course. She is currently working on several projects for children. Follow Linda on Facebook.

Presenting: A Title that Sells, Part 2

What do potential book buyers look at first? Your title. A jewel of information thanks to research done at Thomas Nelson Publishers and shared by Michael Hyatt, former chairman and CEO. The research yielded a list, in order, of how a book is chosen. I can vouch for the list's authenticity. It's exactly how I choose books. See if you don't agree:
1. Title
2. Cover
3. Back cover
4. Flaps (hardcover books or trade books with "French flaps")
5. Table of Contents
6. First few paragraphs of book's contents
7. Price
Note: If the author is well-known, that might be the deciding factor. (Unknown authors are a "non-factor.) Price, last? Intriguing, but true. Hyatt says, "Readers don't buy price. As long as the book provides enough value for the price requested, it sells."

In the PINC
Hyatt, referring to non-fiction books and blog posts, went on to say: GREAT TITLES ARE PINC (pronounced "pink.") Great non-fiction titles follow at least one of the following strategies:

                                                                            Examples

P: Make a Promise       Sexy Forever: How to Fight Fat after Forty, by Suzanne Somers
I: Create Intrigue          The 7 Wonders that will Change your Life, by Glenn Beck & Keith Ablow
N: Identify a Need         How to Write a Sentence: And How to Read One, by Stanley Fish
C: State the Content      Autobiography of Mark Twain, Vol. 1, by Mark Twain & Harriet E. Smith

Hyatt notes that some (many) titles cover more than one letter. And that fiction titles are in their own category--Intrigue--true for virtually all fiction books that sell.

Titles that Sell: Two Excellent Resources

1. Emma Walton Hamilton's post: "What's in a Title?". Hamilton, whose post focuses on fiction, suggests making your title:

• Specific to your book, not general (Pat the Bunny, Blueberries for Sal)
• Implies what the story is about (The Pokey Little Puppy, Goodnight Moon)
• Catchy, such as a play with language, using alliterations, rhyme or rhythm, or having a sense of humor (Liza Lou and the Yeller Belly Swamp, Cloudy with a Chance of Meatballs)
• The shorter the better (Little Toot, Freckle Juice)
• Appropriate to the story (Make Way for Ducklings, Curious George)
• Memorable (The Little Engine that Could, The Call of the Wild)

In short, come up with a title that encompasses all of the above and your title will not easily be forgotten. Summarized here are a few of Hamilton's suggestions on how to explore your title:

• A memorable line from the story (A Wrinkle in Time, Little House)
• Character names (Peter Rabbit, Corduroy)
• A place (Little House on the Prairie, Misty of Chincoteague)
• A hidden meaning (revealed in the story) (The Carrot Seed, Where the Wild Things Are)
• Something ultra-simple (Holes, Where's Spot?)

2. Tips from Writer's Relief: "How to Come up with a Great Title for your Book (or Story

     or Poem)"

• Action words: Titles with strong verbs (Call it Courage, The Cat Ate my Gymsuit)
• Quirky titles (From the Mixed-Up Files of Mrs. Basil E. Frankweiler)
• One-word titles (Severed, Hatchet)
• Inherent mystery/conflict (Encyclopedia Brown, Boy Detective, Prisoners at the Kitchen Table)

Sources: For a more complete study of creating titles that sell, I recommend that you read the entire articles summarized in "Presenting: Titles that Sell, Part 1" and Part 2. An additional site to explore is the Book Title Name Generator. For help in creating your book title, Lulu.com offers Marketing Consultation with Lulu's publicity team. Clipart from: www.mycutegraphics.com.

Linda Wilson, a former elementary teacher and ICL graduate, has published over 100 articles for adults and children and six short stories for children. Recently she completed Joyce Sweeney's online fiction and picture book courses. She is currently working on several projects for children. Follow Linda on  Facebook.

Presenting: A Title that Sells

You can judge a book by its title, Photo by Linda Wilson

It's true that an intriguing title for your fiction or nonfiction book, article, poem or story is your first pitchperson, designed to interest an agent, editor or publisher to crack the first few paragraphs, even pages. If they like what they find? You're in. Be open, though. Your publisher might surprise you by

wanting to think up a new title, thus opening herself up to the same grueling process you thought you had conquered.

Often, the right title pops in place with little conscious effort. Thank you, Subconscious. However, some titles aren't quite as apparent. That's when you dig. There are many ways to uncover it. But before you start, make sure your title meets certain criteria.

Intriguing Title "Musts"

Your title:

• is your reader's first impression of your work. It's got to be evocative, unique and precise. (Writer's Relief)
• is memorable--catchy, short (except in rare workable cases), appropriate, specific and intriguing. (Emma Walton Hamilton)
• is distinguished by an original title. (Lulu.com article by Arrie)
• fits the genre of your book and sets the tone or feeling you want to convey. (Rachelle Gardner)
• is consistent with the conventions of your genre because "fans of specific genres use titles as a kind of shorthand when they're deciding what to buy." (Writer's Relief)
• gains acceptability from friends, family and your critique group, opening it up to new perspectives. (Writer's Relief)

Examples:

• Adventure: Tends to fit a tale of a journey
• Humor: Title is odd or quirky
• Mystery: Lee Wyndam in Writing for Children and Teenagers, revised edition, calls titling a mystery a "baited hook," that contains clue words. She points out that words such as mystery, secret, case, riddle and puzzle were once required. Today for books at the nine-to-twelve level and YA's, titles are more subtle; such as these selections from her list of books nominated for a MWA Edgar:
                                          Bury the Dead (Peter Carter)
                                         The Other Side of Dark (a winner, by Joan Lowry Nixon)
                                         The Twisted Window (Lois Duncan)

Begin by Brainstorming
Rachelle Gardner, in her post "How to Title your Book," offered an idea that sounded so good I tried it and highly recommend it. Not only did the exercise open up new ways for me to view my story, but it was loads of fun. I will summarize her idea here, but recommend that you read her entire post, which includes additional excellent information.

• To get a feel for your genre, find twenty books titles on Amazon that you like and are in your genre. Write them down. Decide what you like and don't like, then put the list away.
• Make lists of words in columns that relate to your book: nouns, verbs and adjectives. For a novel, list words that describe the setting, major characters. Nothing is off limits.
  Think of the action in your story and write down words that capture it. For non-fiction, write words that describe what your book is about and how you want your reader to think, feel or do after reading it.
  Think of words that evoke an emotion, a sensation, a location, a question.
  Keep going until you reach 100 words. Write down 20 title ideas from these lists. Then put them away for 24 hours.
• Time's up: choose three to five possibilities. Run them by some people. Go back to the list from Amazon and make sure your title stands out and is not too similar to the others.
• Voila! You've come up with the best possible title!

Title and Copyright Law
Titles cannot be copyrighted in the U.S. Writer's Relief says, "we don't recommend using the same title that someone else has previously used. It makes it more difficult for your book to stand out."

Now for my rant: A recent experience prompted me to think more about titling my work than I had in the past. While browsing through a free magazine that I picked up at our local health food store, I ran across an article titled word-for-word the same as a classic children's book (not included are the
names of the magazine, editor or children's book). I immediately thought of copyright infringement and wrote the editor an email to question the use of the title. He wrote back with an inserted document of the copyright law from the U.S. Copyright Office, which I appreciated. I would have let the entire matter rest if it hadn't been for his attitude, which made my blood boil.

"Book titles are not protected under copyright law, especially if a book uses a COMMON PHRASE such as "Title." They can freely be used in various media and formats. This is why so many books and movies share the same title. If we had used the image or the original artwork from the book cover you refer to, we would indeed be in violation. However, book titles fall under no such copyright law."

The attitude so infuriated me that I searched to see if I could find out how the author came up with such a terrific title. This is what I found:

Q: How do you come up with such creative titles for your books? Do you come up with them before or after you write your books?

A: Before, after, during, and I don't think of them all myself. My mother titled [this book]." Titles I came up with the publishers didn't like and the publishers came up with titles I didn't like. "My mother was visiting us and one morning I took her a cup of coffee. She said to me, 'I think I found a title our of your own text . . ."

Bottom line: I personally enjoy titles that are tweaked from common phrases, jokes, movies, etc. as I have attempted to do with the caption under this post's accompanying photo.
End rant!

For so much advice on making titles short, I sure found a lot of information on creating the right title. Next month I'll include the rest of what I found in, "Presenting: A Title that Sells, Part 2."

Sources: Writer's Relief ; Emma Walton Hamilton; Rachelle Gardner; Lulu article by Arrie; Wyndham, Lee, Writing for Children & Teenagers, Cincinnati, Ohio, 1989.

Linda Wilson, a former elementary teacher and ICL graduate, has published over 40 articles for adults and children and six short stories for children. Recently she completed Joyce Sweeney's online fiction and picture book courses. She is currently working on several projects for children. Follow Linda on  Facebook.

Creating Ultra-Engagement: Interview with Danny Iny

Danny Iny is one of those marketing mavens that shares his information so generously, and gets around so prolifically, that audience engagement looks natural when he does it. However it ain't necessarily so.  Danny has worked very hard over the past two years to build up his business Firepole Marketing and he remains distinctively accessible, sharing information through a free e-book  Engagement from Scratch (which I've reviewed here), and above all, and you'll hear about it in our interview below, by answering every email (and he gets a lot of them!).  We also talk about something that's quite relevant to writers (and something I'm always grappling with), which is how you mantain the balance between creativity (writing...) and promotion. Listen in, grab a copy of the book, and let me know what you think in the comments below.  I'd also love to hear your own audience engagement tips, especially as it applies to writers. 

 

Magdalena Ball runs The Compulsive Reader. She is the author of a number of poetry books and novels, including, most recently, Black Cow, an "engrossing, poignant" novel about a family who leave behind the materialism and wealth of their high stress lives to attempt self-sufficiency on a small holding in rural Tasmania.

Early American Poetry "Beauty in Words" - A Review

Title: Early American Poetry “Beauty in Words”
Author: Stephanie Buckwalter
Publisher: Enslow Publishers, Inc.
ISBN: 13: 978-0-7660-3277-4
ISBN: 10: 0-7660-3277-9

Early American Poetry “Beauty in Words” explores poetry in America from colonial days to the end of the nineteenth century. It is a wonderful stepping stone for children to journey into the world of verse. Illustrations and pictures of the authors lend an air of informality to the book while the poems, facts, information, and descriptions enlighten the child to poets such as Anne Bradstreet, Henry Wadsworth Longfellow, Edgar Allan Poe, Emily Dickenson, and Walt Whitman, to name a few.

In a complete package, Buckwalter includes the elements of poetry, such as stanzas and poetic meter. She also includes explanations of words and terminology featured in the poems and time period of the poems. Along with this, there are very interesting, yet brief, biographies of the poets, including details of their writings, bringing to light the hows and whys of the poems. In addition, Buckwalter sheds light on romanticism, reality, and poetic license and technique. This detailed analysis is provided in easy to read content.

As an added feature, at the end of each poets section, Buckwalter provides further reading resources. This is a valuable tool for the child who is sparked by a particular poet and wants to learn more.

I fondly remember as a youth reading a couple of the poems Buckwalter included in Early American Poetry “Beauty in Words.” Without this type of children’s book, our youth would miss out on learning about a beautiful form of writing and a certain perspective of the world around us.

In the introduction, Buckwalter explains: “Poets often see the world differently from most people. Some can see things hidden in the mundane; others scale lofty heights of philosophy. They all take words that capture ideas, feelings, and truth, and arrange them in ways that illuminate those realities.” I love this explanation; it’s simple, yet profound.

I highly recommend this book for children with the grade levels recommended.

Reviewed by Karen Cioffi, award-winning children's author and ghostwriter
http://karencioffiwritingforchildren.com

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