Comments on: Critiques In the Early Stages: Shades of Gray http://barbarawklaser.mysterynovelist.com/2004/11/21/critiques-in-the-early-stages-good-or-bad/ musings, thoughts, and writings of Barbara W. Klaser Sun, 27 Jul 2008 09:29:14 +0000 http://wordpress.org/?v=1.5.3-beta1 Comment on Critiques In the Early Stages: Shades of Gray by: Reenie http://barbarawklaser.mysterynovelist.com/2004/11/21/critiques-in-the-early-stages-good-or-bad/#comment-226 Sat, 01 Jan 2005 17:08:21 +0000 http://barbarawklaser.mysterynovelist.com/2004/11/21/critiques-in-the-early-stages-good-or-bad/#comment-226 The first time I read to the only critique group I have ever joined, it was a disaster. I left the room in tears. A self-confessed novice, I was unimpressed with them and myself. After I reviewed and ruminated the critiques I received that evening, I found a lot of the feedback helpful. I felt like a ninny for personalizing their well-meaning critiques. Still…I find the whole concept and process impossible. The members of my group represent every kind of genre imaginable – consequently, none of us truly ‘connect.’ The critiques tend to be subjective instead of objective--Some are sophomoric, and some people seem to come out of left field with the most inane observations – mostly due to the time lapse between readings. I always use the proverbial sifter and am able to find useful tidbits of information to apply. I am beholden for those assists. Nonetheless, I plan to go solo, sort of. Something simply does not feel right about critique group dynamics. I prefer paying someone to critique and line edit – all drafts, and I have a few people in my life that I trust to provide brutal insights. When I did this with my first novel, it was read from stem to stern at the usual pace one reads a novel. There was continuity to the reading and the feedback was equally smooth and not befuddled. My paid critique was extremely helpful with suggestions regarding all facets of the book – character development, elimination of passive phrasing, adding historical background, and suggesting areas where dialog was needed. I was given advice where I could cut or add, spice up or speed up and hints for keeping a proper voice and era speak. It was worth every reasonable penny. I simply feel more comfortable one-on-one. A group seems to feed on itself and build to a crescendo of mixed messages. Sometimes my ‘sifter’ isn’t big enough! I should add that I don’t bring much value to a critique group either – it’s not all about them. I have a lot of trouble listening to someone speed read, then giving a lucid critique. I ain’t good at this at all. I become as sophomoric and inane. Critique groups are probably good for most people. I am far too independent and find the readings distracting to my flow. I believe this is what Barbara meant by the disruption to flow. Shame is, I met some swell folk and enjoyed the camaraderie… In fact, thanks for listening to me. I plan to stick with them, the critique group. Their tidbits are often golden. And we’re all working our asses off trying to be the best possible. The first time I read to the only critique group I have ever joined, it was a disaster. I left the room in tears. A self-confessed novice, I was unimpressed with them and myself.

After I reviewed and ruminated the critiques I received that evening, I found a lot of the feedback helpful. I felt like a ninny for personalizing their well-meaning critiques.

Still…I find the whole concept and process impossible. The members of my group represent every kind of genre imaginable – consequently, none of us truly ‘connect.’ The critiques tend to be subjective instead of objective–Some are sophomoric, and some people seem to come out of left field with the most inane observations – mostly due to the time lapse between readings. I always use the proverbial sifter and am able to find useful tidbits of information to apply. I am beholden for those assists.

Nonetheless, I plan to go solo, sort of. Something simply does not feel right about critique group dynamics. I prefer paying someone to critique and line edit – all drafts, and I have a few people in my life that I trust to provide brutal insights. When I did this with my first novel, it was read from stem to stern at the usual pace one reads a novel. There was continuity to the reading and the feedback was equally smooth and not befuddled. My paid critique was extremely helpful with suggestions regarding all facets of the book – character development, elimination of passive phrasing, adding historical background, and suggesting areas where dialog was needed. I was given advice where I could cut or add, spice up or speed up and hints for keeping a proper voice and era speak. It was worth every reasonable penny. I simply feel more comfortable one-on-one. A group seems to feed on itself and build to a crescendo of mixed messages. Sometimes my ‘sifter’ isn’t big enough!

I should add that I don’t bring much value to a critique group either – it’s not all about them. I have a lot of trouble listening to someone speed read, then giving a lucid critique. I ain’t good at this at all. I become as sophomoric and inane.

Critique groups are probably good for most people. I am far too independent and find the readings distracting to my flow. I believe this is what Barbara meant by the disruption to flow.

Shame is, I met some swell folk and enjoyed the camaraderie…

In fact, thanks for listening to me. I plan to stick with them, the critique group. Their tidbits are often golden. And we’re all working our asses off trying to be the best possible.

]]> Comment on Critiques In the Early Stages: Shades of Gray by: Ken http://barbarawklaser.mysterynovelist.com/2004/11/21/critiques-in-the-early-stages-good-or-bad/#comment-194 Wed, 24 Nov 2004 02:53:05 +0000 http://barbarawklaser.mysterynovelist.com/2004/11/21/critiques-in-the-early-stages-good-or-bad/#comment-194 Some say that awareness is the first step. What's the next step? What do you do to keep 'the editor' out of your mind during flow? What's different with 'the internal group critique' versus 'the editor'? Some say that awareness is the first step. What’s the next step? What do you do to keep ‘the editor’ out of your mind during flow? What’s different with ‘the internal group critique’ versus ‘the editor’?

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