Writers Group Reasons and Risks
Some rules of literary practice beg to be broken. Skillful writers who chafe at restrictions can do so with creative results. Certain pre- and proscriptions, however, are worth heeding, among them the proper conduct for members of a writers group. Adherence to these rules of etiquette benefits the individual, other group members, even the writing community as a whole.
A writers group is an informal gathering of writers who meet regularly, in person or online, to share and critique their prose or poetry. Members submit work, give feedback, pass along news and opportunities, celebrate others’ successes, console following disappointments, and encourage peers to persist. Below are the main benefits and drawbacks of joining a group. The goal of this essay is to help members maximize the positives and minimize the negatives.
The “pros” include:
Enhanced knowledge of the craft of writing. Members learn about writing from one another, based on their education, experience, and/or areas of expertise. So you might think more broadly about narrative reliability, while helping someone else with character development.
Improved self-editing skills. Critiquing the work of others lets you see your own mistakes. We all have blind spots. With feedback from multiple group members, you begin to see patterns, and get insights into how to better convey your ideas and address your target audience.
Hearing your own voice. When you listen to other people’s writing, you’re bound to compare it with yours. You may think “That’s not what I do” or, alternatively, “I could try that too.” A writers group encourages you to experiment and find the voice(s) that are yours.
Staying up to date on the business of writing. Newcomers to writing can learn the field’s lingo and expectations, for example, how to submit to journals or query agents. In a profession that is constantly changing, experienced writers can keep up with marketplace trends.
Finding a community. Writing can be lonely but you needn’t isolate yourself if you also want support and companionship. Writing forces us to glue our butts to the chair. Joining a group forces us to periodically get our butts out of the chair. Your gluteal muscles will appreciate the reprieve and thank you with more stamina when you return to your solo seat.
Boosted confidence. Constructive feedback from peers that is aimed at improving your work is a boon to your self-confidence and determination. We all need to hear “Yes!” at times.
The “cons” include:
Destructive criticism. Although I’m a psychologist as well as a writer, I’m not here to analyze why folks undermine others. However, possible reasons include jealousy, insecurity, lack of empathy, and cluelessness. Individuals or groups that operate in this mode crush confidence.
Bad advice. Group members can dispense feedback that leads a writer astray. Bad advice is not intentional, merely misguided. It may come from someone who doesn’t understand your genre, a novice, or recent MFA show-off, and is especially harmful when given by a member regarded as an “authority.” Your antidote is learning whose judgment best serves your work.
Sticklers and nit pickers. One member may obsess about syntax, spelling, or another pet peeve. One may chew over the clarity of one line or the accuracy of one fact. They do so to the exclusion of meaningful issues such as character, plot, or voice. Such copyediting may be useful for a manuscript’s penultimate revision, but rarely is this the kind of help one seeks in a group.
I belong to two writers groups whose core members have been there for two decades or more, while others leave or join. I workshop short stories with one group and novels with the other. I’ve also attended multi-day workshops on specific areas of craft. The points in this article apply to both, but workshops typically have a leader who decides policy, whereas writers groups are leaderless, making self-regulation essential. While my experiences are mostly positive, this essay was motivated by the problems I occasionally encounter and discouraging tales I hear from others. The advice doesn’t only apply to the most egregious “them” in a group. Even those of us who are good citizens need to be reminded of the rules now and then.
Six Writers Group Rules
These rules are not an exhaustive list, but they’re important and often overlooked or understated. They mostly address how to give feedback. (How to receive it with grace, without defensiveness, is another article.) Whether you are already a member of a group, thinking of joining an existing one, or forming a new one, consider how these rules apply to you and your colleagues.
1. Do your homework before the group meets. Read each manuscript attentively, twice or more for shorter works. Respect submission deadlines to give others time to read and reflect on your work. (In some groups, members do not submit manuscripts beforehand. They read them aloud at the meeting. While hearing your words is valuable, it limits a reviewer’s ability to provide comprehensive feedback. Unless your writing is meant solely for an audiobook market, a read-aloud only group is unlikely to serve your purposes. Many writers groups wisely do both.)
2. Attend meetings. Go to the vast majority of sessions. You may have to miss a few, but if you’re often unavailable, cede your spot to someone who can be a more active member. For occasional absences, if possible, provide feedback before or near the meeting date.
3. Review work with the right attitude. The purpose of a review is not to pat the author on the back. Unmitigated praise may feed egos but does not improve craft. Neither should a critique be a dump of ice water. Instead, engage in a two-part process. First, identify strengths, that is, affirm what’s working. Writers need to know what to keep or do more of. Second, consider what can be improved, that is, what to modify. Convey this information in a way that is helpful and encouraging. Writers put ourselves on the line when we join a group. Our presence signifies that we’re serious about the never-ending process of improving our craft. If we’re merely looking for praise, or thrive on giving and/or receiving punishment, we don’t belong in that environment.
4. Give thoughtful written feedback. Group norms differ, but I prefer to give and receive summary comments and line edits. Provide written feedback before, during, or shortly after the session. Writers vary in how soon they begin to revise. Some dive in right away–others let the feedback incubate. Whatever their process, give feedback by the due date, i.e., the date of the meeting. When circumstances prevent this, ask them if late feedback would still be helpful. If they’ve already started on a rewrite, they might prefer that you review a revised draft instead.
5. Give balanced verbal feedback. Some people are shy about speaking up, but authors and other members want to hear your thoughts. Conversely, don’t dominate the conversation or push your viewpoint. You’re not there to convince, only to share your perspective. It’s up to the writer to decide whether to accept it, and for others in the group to evaluate whether it applies to their own projects too. Be open to changing your mind. Sometimes, after I hear an alternative view, I’m persuaded it’s better. I say so, especially if it contradicts my written comments. (Likewise, if you’re the one receiving feedback, don’t take up more than your share of time. It means fewer minutes and less energy for others. If need be, appoint a timekeeper and/or use a stop watch.)
6. (Most important) Remember that the manuscript you’re reviewing is NOT your story. Don’t announce you dislike the genre and wouldn’t write that type of work yourself. Don’t say where you’d set a story, what you’d make the theme, or what you’d have characters say and do. Write that piece yourself. Your role is to learn the author’s intentions and help them to better achieve their goals. It’s fine to suggest they consider using a different point of view, begin the narrative elsewhere, alter the tone, and so on, provided the justification is that it could enhance the story the author wants to tell. To be blunt, don’t be a narcissist. It’s about them, not you.
You Get What You Give
In sum, your characters don’t need to be good citizens but you do. Of course, you have the option of not joining a writers group. There are other ways to get your work critiqued. For example, you can pay an editor or find another individual whose feedback you trust. Bear in mind, however, that if the other person is also a writer and the arrangement is reciprocal, these rules still apply.
When you join a writers group, you make a commitment to participate fully and fairly. Honor that commitment and expect and help other members to do the same.
Temper honesty with encouragement. Express confidence in your fellow writers’ ability to improve. It takes courage to share our creations. Don’t kill this spirit by being too “helpful.”
Take center stage when your work is being critiqued–cede the spot when it’s someone else’s turn. A writers group is not a solo show. It’s an ensemble production.
If you follow these rules in your group, you can (continue to) grow as a writer, reader, and colleague. If you apply them to life’s other interactions, you may even become a better person.
Ann S. Epstein writes novels, short stories, memoir, craft articles, and book reviews. Her awards include a Pushcart Prize nomination for creative nonfiction, the Walter Sullivan prize in fiction, and an Editors’ Choice selection by Historical Novel Review. Her novels are On the Shore (Vine Leaves Press, 2017), Tazia and Gemma (Vine Leaves Press, 2018), and A Brain. A Heart. The Nerve. (Alternative Book Press, 2018). Her stories, creative nonfiction, and craft articles appear in Sewanee Review, PRISM International, Ascent, The Long Story, Saranac Review, The Madison Review, The Minnesota Review, The Woven Tale Press, and many other literary magazines. In addition to writing, she has a PhD in developmental psychology and MFA in textiles, which shape the content and imagery of her work. Her website is: www.asewovenwords.com.
