Photo: Brooke Cagle

JOINING A CRITIQUE GROUP

I'll be honest. Being part of a critique group has never been my cup of tea.  I prefer to get critiques from my beta reader, my husband.  He cheers me on and he gives me great advice—I don't need others to weigh in on my work.  However, about five years ago, I got curious about a writing group that met at a library close to my home.    

When I arrived for the meeting, I discovered aspiring picture book writers eager to get published.  They were passionate about the stories they had written, and because they seemed professional, I made a commitment to join them.  It felt good connecting with local writers, helping them on their stories, and getting feedback on my own manuscripts.  We met one day a month to discuss our work and to give constructive critiques.  But before long, the group fell apart as people's schedules got complicated.  I hated seeing this group dissolve.  From what I observed, many members got a lot out of the sessions.   

Since then, several years passed and I never gave any thought to joining another group.  And then I meet a person through Mindy Alyse Weiss' Picture Book Party New Draft Challenge and Critique Train, an online event where writers were paired with critique partners.  By luck, this person invited me to join a critique group called Friday Minds. 

Friday Minds meets twice a month on Friday afternoons via Zoom.  I'm the only writer on the east coast.  Four of the others live in California and another gal lives in western Canada.  Friday Minds is composed of teachers, poets, moms, and of course, picture book writers. 

Before we dive into the manuscripts, we chat about what's going on in our personal lives, what we may have learned through workshops or webinars, writing events we may have participated in or hope to participate in, and what picture books we have read and loved.  Then, we get down to business and one person reads a manuscript aloud.  Next, we all give positive comments on the piece.  Afterward, the members take turns pointing out the parts that are unclear or might need editing.     

Friday Minds is a good fit for me. I was unsure at first, but the more I got to know everyone, the more I wanted to be part of this group.  Everyone is talented, fun to hang out with, and offers great advice and insight.  Now, I'm aware that other writers may feel differently about joining a critique group.  Some writers simply like to work alone.  Hey, I did that for years.  However, if you're curious (or tired of rejections) sit in on a meeting and consider these questions:     

• Does the group give positive feedback, discuss what works, and address the strengths? 
• Do they give constructive criticism on the areas that need improvement?
• Do they give detailed comments on plot, character, word choice, pacing and page-turns? 
• How do the members handle criticism?  
• Is there chemistry and respect among members?

I'm thrilled to be part of this critique group.  We brainstorm and offer new ideas to improve each other's stories.  We help each other navigate the waters of publication.   We commiserate over rejection and rejoice in our successes.  

Being a writer is a hard, lonely profession.  Now, my supporters have grown.  I have five more people who want to hear my stories.  I never thought I'd stick with a critique group, but Friday Minds encourages me.  They give me confidence in my writing.  They want to see me succeed.  Like my husband, Friday Minds is always there to cheer me on.          

✌ and ♥

 

                                                                                                                                                                                                        Photo by Marco Testi

IT'S ABOUT TIME TO HEAR SOME GOOD NEWS 

One would think that after submitting to agents for over four years, I would hear some good news.  It shouldn't take this long.  Or be this hard.  

I make every effort to match an agent's needs.  And it's not easy to nail.  It would almost be better to learn how to read minds.   

Luckily, I can peek into an agent's mind by doing google searches.  Some agents express their tastes in interviews, on their agency's website, or on The Manuscript Wish List.  They give clues by spelling out what they are looking for in a manuscript:  the topics, character, settings, and genre.  While that information is helpful, it is in truth somewhat vague.  

Say for instance an agent is looking for a humorous character-driven story about a cat and you send her a hilarious piece starring a funny feline.  That doesn't necessarily mean you're a shoo-in and she's going to offer representation.  The agent must fall in love with the story and feel that she can sell it.  

Let me tell you how I know this.  I queried an agent who was looking for a book that could be used in the classroom for beginning discussion for social-emotional learning.  I had just the manuscript:  a narrative about a child who is kind to a person living on the streets.  Handled delicately, this book has the potential to bring sensitivity to homelessness.  However, the agent rejected it saying, she wasn't enthusiastic in her experience to sell it.  

There are days when I feel I will never crack the code, that I will continue to read I'm not the right agent for this work.  Recently, I felt defeated having received two rejections in one day.  Ouch!

I had the opportunity to ask an agent why she rejected a manuscript.  She said, "That's not your fault!  We can only guess what other readers will connect with on that deep level.  Same is true when I send books to publishers."  I interpret her comment to mean the manuscript is good and she likes it, but she's not sure if the publisher would feel it's a good fit for their readers.  So, it's a balancing act.  You've written something you love and an agent is trying to figure out if that book will sell.   

In the past few years, I've sent out (in my opinion) some damn good manuscripts.  And I'm still looking for an agent who will love them as much as I do.  At times, I'm optimistic even after receiving rejections.  Some of them say I like the concept or your manuscript has much to offer.  

There will always be rejections.  But I try hard to focus on the positive:  one agent tells me my manuscript is nearly there while another has requested my picture book.  I believe in my work and I visualize success.  I only have to be patient and persevere.  But wouldn't you agree that after four years, it's time to hear good news?      

 ✌ and ♥