W e reviewed The Basics last month and now have a pretty good grip on critiquing, both giving and receiving. We can put this information into practice in a couple of different ways: in one-on-one partnerships, or in groups.

The one-on-one partnership can function for many people like a critique group, but has some disadvantages: You get only one viewpoint; less synergy is created when brainstorming solutions; the partner can move away or quit writing, leaving you on your own.

Critique groups must function on trust, and nothing destroys trust faster than not laying some basic ground rules.

On the other hand, if you normally work with a group, the occasional one-on-one can put fresh eyes on your manuscript. Many published authors have a regular critique group they work with from week to week, and then give the revised and polished manuscript to a trusted reader for a final read-through.

But let's focus on the group experience and explore some guidelines for forming and working in groups.

Do "try out" potential critique group members before making a commitment. Choosing group members is like dating. You want writers who fit particular criteria and who are compatible with you and with other members.

A good rule of thumb is to exchange a single scene or chapter with the prospective member and then have a one-on-one session to see what kind of critique you'll receive and how she'll take your critique. In most cases, the impression you get from this first session will let you know whether you want to partner in a group with this person.

Don't take it personally if an existing group doesn't choose you. Like other business relationships, critique partnership is based not just on "job performance," but also how well you mesh with other group members. Personality clashes can be a valid reason to decline critique group membership, or decline offering membership to a potential member.

Do develop group boundaries. Critique groups must function on trust, and nothing destroys trust faster than not laying some basic ground rules.

Some boundaries or ground rules you may find helpful include:

• Guidelines for introducing new members to the group.
• How long a face-to-face critique meeting should last.
• How often meetings should occur.
• How many pages each member will bring for review.
• When to have a business meeting.

Do limit the number of members. I've been in groups as large as seven, which was unwieldy because it was hard to get to everyone's work in a reasonable amount of time. A comfortable range is three to five members, though if you meet on a weeknight, working through five chapters (one per member) might be tough. If you're meeting exclusively online, three may work to your advantage from a sheer logistical standpoint; chats are difficult to follow with too many "voices" onscreen at once.

Do embrace structure. Some groups like to bring fresh pages and read them aloud for immediate feedback. Others bring pages one week, take them home for a detailed critique, and then return and discuss them the following week.

Whatever method your group uses, do try to allow each critique member to have a few minutes to voice her thoughts about the pages. All members can learn by listening to critiques.

But beware the know-it-all: One overbearing member can squelch opinion, cow other members, and reduce the group's productivity. A cure for the know-it-all is to give each member a set amount of time to talk without interruption. If the know-it-all wants to comment on others' comments, she can do so during her turn.

Don't interrupt someone else's critique. (Or do.) This guideline depends on the group. Some members riff off each others' comments in a highly productive manner. Others seem to fall into arguing over trivial issues. Still others may feel devalued if they're constantly interrupted.

Each group has to determine for itself whether interruptions are okay. Done courteously, interruptions can invite synergy and productivity. Done poorly or too often, they can shut down creativity and defeat fellow members.

And if you're on the receiving end of a critique, your mouth is shut already, right?

Do spell and grammar check your work before turning it in. There are so many reasons for doing this, it's hard to know where to begin. Critique group members are not personal copy editors. Poor spelling and bad grammar obscure the story. It's just downright courteous.

Don't use the critique group as your primary social gathering. While some of us are naturally more social than others, the purpose of the group is to share critique, not listen to Rhonda Writer drone on for half an hour about how her unruly children are eating up her writing time. If someone in the group turns out to be a droner, you can always propose a ten-minute "social time" during which all personal discussion needs to occur; after that time is up, work should begin.

Do have a business meeting from time to time. A business meeting can occur when someone wants to suggest a venue change, meeting time change, adding a member to the group, etc. Even if none of these issues arise, a biannual or annual business meeting just to review the group's progress can be a good idea. Sort of like a health checkup. Does a guideline need to be changed? Is everyone getting what they need from the group? Would adding a new member improve the feedback?

Don't feel guilty when you leave the group/Don't express resentment when someone leaves. Maybe you're changing genres. Maybe you feel you've progressed to a point where you need the opinion of someone more advanced than anyone in your group. Or perhaps it's just time to get fresh eyes on your work.

Yes, critique groups can be very tightly knit, but the group's focus is ultimately the welfare of the writer's work, isn't it? If one member feels the need to move on in order to better the work, the group should be behind that decision 110%. The decision to leave deserves respect, not recriminations.

Do say what you need from the group. If, instead of bringing pages one week, you'd rather have some help brainstorming your plot, ask. If an editor suddenly requests your full manuscript and the last fifty pages haven't been critiqued, ask what members would be willing to do to help.

In the vast majority of cases, a productive critique group will willingly set aside its normal routine to assist one member who's in a bind. And that's great. Just remember two things: "asking" doesn't necessarily meaning "getting" (everyone's busy, after all) and turnabout's fair play. Also, asking for favors too often can quickly turn asking into abusing.

Conclusion

Critique groups aren't for everyone. For some of us, the burden of reading and commenting thoughtfully on others' work is greater than the reward.

But for those of us who tackle the special challenges of having a critique group, we have a special reward: a handful of fellow writers who know intimately the work we do, and who accompany us on every step along the writing way.

Sandra K. Moore is hugely grateful to be a member of a great critique group that teaches her something new every session. She's currently completing Book 8 in the last Silhouette Bombshell Athena Force series and working on a mainstream proposal.

Copyright © 2006 Sandra K. Moore. All rights reserved. Used with permission.