Would you like to workshop your book? People call these writing groups, too. The idea is to get some other authors, all working on their books diligently, to gather in person to review and respond to the book you’re writing. Published authors swear by them. Other authors can vouch for the help which a good workshop brings to a book, too. What’s the smart way to get started in one? If you haven’t met this challenge yet, there are shopping tips that lead to a good investment. Because no matter what you spend, you’re always investing your time.
Is there a size limit? Every writer who appears at the table will bring pages for you to review. A group of eight, of course, means seven sets of pages you must read. So you’ll then shift gears six times, into somebody’s story, out and then on to the next. It’s a rare thing to be able to mark with comments on more than 3,000 words an hour. Do the math. Figure that a big group means hours and hours of reviewing. Groups work best at four writers.
Is there vetting, or an introduction? Everybody wants to be in a writing group with an author who’s got more advanced skills. Or the same level, at least. Someone’s got to be judge and jury on this, though. Personal groups form between writers who know one another already. The first writing group I joined had no vetting for skills. Or courtesy, either. The next came from a Writers’ League of Texas Advanced Fiction class. The late, great novelist Karen Stolz told us, after our eight weeks of classes, “Form up groups, you guys.” The Square Table writers were off and running for the next seven years. We ran with four writers at first, then three.
I’ve got Austin’s only paid writing group. Since 2006 we’ve been open to any author who’s writing a book. No vetting, but there are limits and practices. Someone has to lead, and that means a lot more than watching a timer to be sure limits are enforced.
How much will your group read? Can you submit 15 pages, or even 20? It can be a challenge to say something useful in response to six pages of writing. You can critique a scene for the mechanics, or find a way to ask questions about what’s not on the page but intrigues you. A page count of 15-20 is 4,000-6,000 words. That’s a chapter, maybe two—the unit of the idea in a book.
Do you read before you meet? Very few authors can edit live, unless they’re only doing a line edit. It takes time to write comments, especially longhand. Legibility matters. A group with pre-submitted pages will give its members time to read closely and say what’s confusing, compelling, or dragging. A group which shares pages using email also gives members the means to look backward in a book to recall what a reader might have overlooked. Those prior chapters are right at hand, on your laptop.
Is it easy to connect personally with a member? Unless you’re entering a group linked via email, it’s so much harder to strike up a relationship with another member who really shows a connection to your work. Not everybody will “grok” your creation (the Stranger in a Strange Land verb from Robert Heinlein that means “to understand something’s soul.”) Writers might be shy in person but gregarious online. Email is essential. A group with a driving need for privacy makes such connect more work. Email is the means that professional writers use to share ideas and critique, query and trade editorial notes. A leader should make email available for every member.
How long do we meet, and where? Critique and response is careful work done best in a private space. A member’s home gets the job done, but only if there’s no distractions there. Meeting at a bookstore worked pretty well at first for us Square Table Writers. We were only four members big so we got a table well away from store cafes (Steaming milk! Lots of music!) or Saturday’s shoppers (I want that book!). Nobody had much more than three hours to meet, but each book got 45 minutes of airtime. We had time to talk about our book after critiques, too.
What’s the comfort and leadership level? Critiquing is real work with genuine payoffs. This isn’t a workout at the gym. Does you host do snacks or a demi-brunch, give breaks to stretch, encourage people to get to know one another? Such things make a space and a group personal and unique. Somebody’s going to have to ask for pages to distribute to a pre-reading group; otherwise someone forgets. A regular meeting schedule is important, too, so people can protect the time they will devote to making books better.
Yes, authors can bring their own water bottles or a venti Starbucks to a group. And whoever goes first can be determined by a lottery, tarot cards, or just whoever’s turned in pages first. Try to avoid your arrival time to the table as a way to choose who goes first. The Traffic Gods shouldn’t have a seat at your group.
There’s a lot to consider when finding a group to critique your book in progress. You do get what you invest in, though. Efficient and effective groups make good use of time in meetings. That means you have more time available for writing and revising your book. Think of how much sooner that will finish it. Finishing, after all, is at why we help one another in groups. Those outsider insights should save us time.