www.vickihudson.

com Vicki Hudson

www.throwrockpaperscissors.com P.O. Box 387
T/ @vickigeist @Vicki_Hudson Hayward, CA 94543
510-200-8749

CRITIQUE GROUPS: Creating a Writing Family to Take Your Work to New Heights.
Presenter Vicki Hudson
Download additional resources at http://www.scribd.com/Vicki%20Hudson/documents

Introduction:

Why do writers join critique groups? So they can receive feedback and become better writers.

Why do writers quit critique groups? No one “gets” their writing, tired of being trashed, hurt
feelings.

Why do writers not seek out a critique group? Fear.

In the next ten - fifteen minutes, I’ll address how to give and receive helpful critical feedback as
part of a writing critique group or workshop. How you may deliver the strongest criticism in a
manner that a writer walks away from still feeling good about their writing. This little chunk of
time will give you a tool box for verbal critique as well as written comments on the page to the
writer.

I. Fear
a. Fear is a huge reason people don’t join a writer’s group or seek out criticism yet
we know that feedback is essential to the writing process. Fear keeps writers
from ever moving a manuscript from the drawer to the mail box.
b. What if they don’t like it? Who cares? A good critique, even when providing
what could be perceived as negative criticism isn’t about if the reader “liked” it.
A skillfully provided critique will not include “I didn’t like your story.” What it will
include is some variation on “This didn’t work because …”
c. Create a boundary – you are the writer, the work is just words on the page that
you create, not your identity. (Even if it IS all about you!)
d. Just let go of the fear and replace it with some knowledge and tools.
II. Verbal critique in a group
a. Whenever possible, have the writer read his/her story to the group first. Listen
to the language.
b. There are many forms of workshop critique. The best method I’ve found over
numerous groups and workshop formats is the Three Stage Method created by
Mary H. Webb, a local Berkeley author and playwright.
c. The Three Stage Method is really simple once learned but can be difficult in the
beginning. The intent is to create an environment where the writer receives
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© 2013 Victoria A. Hudson
www.vickihudson.com Vicki Hudson
www.throwrockpaperscissors.com P.O. Box 387
T/ @vickigeist @Vicki_Hudson Hayward, CA 94543
510-200-8749

constructive feedback in a manner that will not insult, or emotionally injure the
writer while still providing for honest feedback.
i. Stage One – Positive comments only. What works well? The imagery
created in the reader’s mind. How the language is experienced. The
emotional impact on the reader. Repeat back lines or sentences to the
writer, this helps the writer develop a distinctive voice and style. If you’ve
nothing positive to say about a piece of work, say nothing. Listen actively
and carefully – you may be surprised.
ii. Stage Two – The writer asks questions. This is critical. The writer must be
prepared with a couple questions about the work. Did the end work?
What about the transitions? Point of view? Plot? Anything that the writer
isn’t sure about or wants reader input. The key is the writer must do
her/his part and be prepared to ask a few questions. The group must
respond to the questions and not interject information unrelated to what
the writer asked.
iii. Stage Three – Essential for effective and constructive criticism, this is
when members of the group provide unsolicited constructive critical
suggestions. These are not in response to the writer’s questions. This is
where the group members provide the feedback about what didn’t work,
what language was rough, what transitions were choppy. A character that
seemed out of place. A point of view lost. Stage Three is not license for an
attack. Stage Three is not permission to say “I didn’t like your work.” I
didn’t like is not helpful. Whatever didn’t work for the reader, is
important information for the writer but it can only be helpful if the
reader communicates in such a manner as to define what it was that
didn’t work and why. Some concerns include: faulty pacing or
sequencing, too much summary, not enough scene, dialogue, etc.
iv. Language chosen in Stage Three is important. Some words or terms are
very loaded, they have different meaning to different people and as such,
using them defeats the purpose of providing useful constructive criticism
and feedback. Instead of calling something a cliché or trite, define why
that is an obstacle in the writing. Stay away from politically correct or
incorrect. Very loaded terms with different meanings to different people.
These words are shorthand and “code” so what are you really saying?
Stereotypical or any of the ism words – same, again, shorthand and

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© 2013 Victoria A. Hudson
www.vickihudson.com Vicki Hudson
www.throwrockpaperscissors.com P.O. Box 387
T/ @vickigeist @Vicki_Hudson Hayward, CA 94543
510-200-8749

“code”. Do the hard work of defining that emotional response in you the
reader so the writer has accurate, specific feedback.

III. Feedback on the page

a. Reading is important
i. Initial read, read through completely
ii. Second read, read critically
iii. Some works you might even read a third time or find reading out loud is a
benefit
iv. After reading through before reading critically, sit quietly with the piece
and let your mind mull it over a few moments
b. Two parts to written feedback
i. Line comments in the margins and space between lines: short, concise,
highlight specific language, or issue
ii. Main body of comments: Separate page or at end of piece. Elaborate
your points, use examples from the work or identify the page, paragraph
or line.
c. Format for main body comments: Four parts
i. Start with positive comments. There is something positive about any
writing, find it, and draw it out.
ii. Second part, ask questions. What questions came up when reading?
“How would that work? I felt this at that part, is that what you wanted to
create?” Questions help the writer by indicating an obstacle for the
reader, clarify or validate what the writer may have been attempting.
iii. Third part, give constructive, honest feedback of what did not work well,
identify areas that have potential for improvement, where you as reader
stumbled, were removed from the story or otherwise found difficulty.
iv. In conclusion, the fourth part, sum up the main issues. Cite what was
most positive about the piece, if you have a suggested market, include
that here. Give the writer an overall good point to walk away with. Then
sign your name.
d. Sign your name: sign your name because when you put your name to something,
a small amount of pride goes with that. Attaching your name to your comments
says you believe what you are saying and you stand by what you are saying.
Signing your name is a nice bit of civility.
e. Two recommendations:
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© 2013 Victoria A. Hudson
www.vickihudson.com Vicki Hudson
www.throwrockpaperscissors.com P.O. Box 387
T/ @vickigeist @Vicki_Hudson Hayward, CA 94543
510-200-8749

i. No red pen – no one wants to be reminded of high school or freshman

English
ii. Leave the copy editing to the copy editor that comes later in the process.
Unless a particular grammatical issue really, really bugs you, let it go. The
mechanical issues are caught later in the process, or should be, when the
writer puts a piece through copy editing.
IV. Issues to provide feedback on: Everything you ever discussed in freshman English.
Plot, consistent verb tense, plot, dialogue, scene, summary, balance of scene and
summary, character development, timing, cadence, pace, transitions, technique,
point of view, perspective, humor, seriousness, emotional impact, language….
V. Conclusion: Simple truth about writers groups is that not everyone in the group
will give or know how to give helpful feedback. Some people just want to talk,
some people just want to show off and some people will give hard truths in a
courteous, gracious manner and become the people you learn to count on that will
help your writing improve. Some comments are worthwhile, some you just
disregard. Be the reader, writers want to hear from.

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© 2013 Victoria A. Hudson
www.vickihudson.com Vicki Hudson
www.throwrockpaperscissors.com P.O. Box 387
T/ @vickigeist @Vicki_Hudson Hayward, CA 94543
510-200-8749

Feedback on the Page

For members of a writing workshop or critique group, the reader has an important partnership
with the writer. The writer hands over pages that represent their heart, soul, blood, sweat,
tears, hopes and dreams to the reader. The reader’s part is to provide feedback and
constructive criticism that will support the writer with improving the final product of his/her
hard work.

What if you don’t like the work? What if you hate the story? What if you can’t find anything
redeeming in the main character that you can relate to in your own life?

Well, actually, none of that matters. Because it is not about you or about the writer, it is about
the words on the page, the movement of the story, the flow of events, the development of the
characters, and more.

Tools for providing written feedback:

First off, read the story without regard to critical thought. Just read it through like any story or
article you might pick up. Read and then sit with it for a few moments. Turn it over in your
thoughts. What remains when you put the pages down? What are you still curious about at the
end? What question pops up for you or what turn of unexpected event when finished has you
chuckle? What are you still curious about? Nothing? Well, that is important also.

After you’ve read and then sat with the piece for a few moments, get ready to read it through
again. This time you’ll make comments. Just don’t use that red pen. That red is such a loaded
color for so many of us. Returning the poor writer to freshman English is usually not a positive
experience. Write comments in the margins (writers, make sure to have one inch margins all
around) and use the space between lines for recommended language (writers, double space
your lines).

What to write about? That’s a long list: plot, dialogue, scene, summary, balance of scene and
summary, character development, timing, cadence, pace, transitions, technique, point of view,
perspective, humor, seriousness, emotional impact, language…There are any number of aspects
of the writing to address.

If you really don’t know where to begin, start with time. What is the chronological pace of the
piece? Does that chronological pace make sense? Is it confusing? Does it carry the reader or

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© 2013 Victoria A. Hudson
www.vickihudson.com Vicki Hudson
www.throwrockpaperscissors.com P.O. Box 387
T/ @vickigeist @Vicki_Hudson Hayward, CA 94543
510-200-8749

create obstacles for the reader? Why? (Get used to answering why – why is a big part of what
works or what doesn’t work regardless of what aspect you write about.)

If not time, look at language. Are there phrases that really stand out? Lines that grab and pull
the reader into the piece, stopping time and space for the reader or lines that bring the reader
back to reality, breaking the hold of the story? Highlight or underline or circle the lines that
really, really strike you as bold, chilling, hot, fevered, delicious, enticing, inciting…(you can fill in
more).

Look critically not personally. Easy peasy you can find stuff that you like. When there is
something that didn’t work for you, that you didn’t like, or weren’t comfortable with or didn’t
sound right in your head or feel right in your heart when you read the words is vitally
important. Why was that your response? And some of that stuff may actually be the gem of the
piece. Dive into the dark waters of discomfort.

A word about editing: Editors edit. Unless you have a particular pet peeve about a specific
grammatical mechanic and the writer keeps hitting that one thing you really, really hate – leave
the copyedits to someone else, down the food chain of the writer’s progress. When she/he has
the story at the place where mechanical aspects are crucial – it won’t be a piece brought to
workshop for copyediting by committee.

Remember what your mother said, watch your language.

A writer has privileged you with the honor of helping him/her hone the craft. Take that
seriously. Be nice. Be truthful. Be honest. Give feedback in a manner that you would hope
feedback will come to you. Use real words, not labels, or code because those terms (politically
correct/incorrect, clichés, trite, culturally descriptive words that end in ist or are isms) mean
different things to different people so define the response you experienced that you want to
shorthand by using any of those terms.

While you have comments along the margins, the meat of your written feedback is at the end
of the piece or written up on a separate page. A four part formula to keep in mind:

Start with positive comments – what works well, quote back language, strong character
development, solid pacing or cadence – anything you can say that is positive. Can’t find
something positive look again at language, chronology, or answering what emotions the piece
creates for you.

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© 2013 Victoria A. Hudson
www.vickihudson.com Vicki Hudson
www.throwrockpaperscissors.com P.O. Box 387
T/ @vickigeist @Vicki_Hudson Hayward, CA 94543
510-200-8749

The middle section of your written comments, ask questions. What created a question in you,
the reader’s mind? “I felt this at this part, is that what you wanted to create?” for example.

In the third section, give the constructive feedback of what didn’t work. What are the areas for
improvement, where you the reader encountered some type of obstacle?

Finally, in the conclusion, sum up again something that was really positive, that you really liked
and an overall good point for the writer to remember. Then, sign your name. Yes. Sign your
name because when you do, you are saying you stand by what you are saying. You are giving
the writer your truth of experiencing his/her story. Take pride in your feedback making a
difference. Sign your name.

The simple truth of being part of any writers group or workshop is some people will have
useful, helpful information to give in feedback, and others will not. Some will just want to hear
themselves talk or show off their “wisdom and experience”. You learn over time what members
will have something to offer in feedback that is worthwhile and who will not. What comments
are worth reading and what comments to disregard. Be the reader people want to hear from.

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© 2013 Victoria A. Hudson
www.vickihudson.com Vicki Hudson
www.throwrockpaperscissors.com P.O. Box 387
T/ @vickigeist @Vicki_Hudson Hayward, CA 94543
510-200-8749

No Red Pen: Writers, Writing Groups & Critique is

available online in print and Ebook. For most
retailers, the Ebook version is free for download.

Everyone has a story. No one else can tell your story. The process of creating,
refining and ultimately releasing it into the wild that is publication in the world
needs to be a respectful one. No Red Pen – Writers, Writing Groups & Critique is not
an overview of writing groups – it is a manifesto for a different paradigm for
workshop and critique.

No Red Pen – Writers, Writing Groups & Critique is intended for those writers
looking for information on what to consider when forming or joining a writers’ group
and for writers seeking tools for critiquing work in progress. This is not a how-to
book for writers’ groups. There is no discussion of specific craft techniques. There
are other books in the market that discuss finer points of writers group
administration and many that deal with craft. This book is intended to help the
reader make informed choices in the marketplace of writing group workshops and
provide useful skills for critique consumers. The act of entrusting one’s written work
and exposing that product of imagination, heart, and soul to the criticism of others is
a risky and brave action by the writer and a privilege for the reader. No Red Pen –
Writers, Writing Groups & Critique provides a toolbox for conducting a writers’
workshop and recommendations for critique that fundamentally respects the writer
and the work.

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© 2013 Victoria A. Hudson