The Novelists' Spot
Guidelines, Terms, and ApplicationTerms & Conditions
Joining a well-run critique group can be one of the most effective and meaningful ways to see your writing from the fresh perspectives of other writers with no prior exposure. Group members can offer invaluable feedback on points of confusion, inconsistency, redundancy, and other elements that may not be working in your writing. Critique groups can help you to identify weaknesses as well as strengths you might want to build upon.
The key to the success of the best groups lies in the members’ and leaders’ commitment, consistency, and respect for each other and all group members’ works. It is imperative that a group is managed with a logical structure that is easy to understand, equal division of time and contributions, and kindness in delivering honest reactions and feedback.
The best outcomes emerge when members feel completely free to give their honest reactions to writers who have the sole discretion whether to implement such feedback into their works. At no time is anyone obligated to take any feedback as if they have no choice but to accept it. That choice is solely the writer’s, which means they will not be penalized for any input they opt not to incorporate into their work.
The guidelines expressed here and enforced within the tribe may sound strict, but groups can go awry without vigilance and strong leadership. Here at BWC, we aim only to create critique groups whose members wonder how they could survive their writing journeys without them. If it’s not worth your while, what’s the point?
We’re here to support each other, lift each other up, and encourage each other to think bigger, reframe challenges, and grow as writers. We agree to find ways to help each other think bigger, reframe challenges, and stay committed.
Top 2 reasons to join a well-run critique group
Reason #1
A strong critique group can help you improve as a writer.
Reason #2
A great critique group can help you to develop your own style and enhance your story.
Group Procedures
Schedule
Meetings are monthly on the last Saturday of the month. After a few minutes of socializing, critiquing starts no later than 10 minutes after start time and lasts approximately 2.5 hours (occasionally later). We take one ten-minute break. Meetings are held via Zoom (or any application the facilitator or group prefers that all can access).
This group consists of productive published and unpublished genre writers who are actively writing a work-in-progress. Membership is capped for each tribe at 12. Once capacity is reached, members may request access to join the waiting list. Once the waiting list reaches 6, a new group will be formed and those members will be invited to join.
Submissions should be 4,000 words (roughly 16 pages) or less, 12-point font, double-spaced, and first line indented. The author’s name and page numbers should be placed in the header/footer. If the ending (i.e. the completion of a scene or chapter) of your submission runs past the 16 pages, you may submit it, but the person critiquing is only obligated to critique the first 16 pages. Each submission should include the genre and placement of the submission (i.e. Mystery, chapter 3 – Non-fiction, introduction etc.) on the front page of each submission. The writer is encouraged to include a short paragraph or a list of bullet points briefly summarizing what’s already happened before the reading begins at the top of a submission.
All critiqued submissions will be turned over to the writer; use Track Changes for ‘mark ups’ so the writer will have your suggestions.
The first phase of feedback begins with a praise round, which is a round of positive comments concerning the piece’s strengths. Competent critiquers should be able to identify strengths in any manuscript and make an effort every time to contribute to the praise. Praise should never be skimped on, even if you feel like you give the same to a writer every time. Just because you expressed praise about an element doesn’t mean you can’t also have suggestions for strengthening it. Praise isn’t limited to the beginning; more may emerge during the critique and at the end.
The writer is not permitted to speak, defend, justify or explain during critique of their work. Writers may, however, ask for clarification of a suggestion, for someone to slow down, or for something to be repeated. Do not put the moderator in the position of having to cut you off because she will.
When a writer first brings a new novel to be critiqued, s/he shall not tell the story beforehand or describe the novel other than the genre and perhaps a one-sentence logline. Outlines, synopses, summaries, query letters, log lines, and blurbs can later be submitted for critique at any point before, midway, or at the end of the process of getting a novel critiqued.
The group leaders reserve the right, at any time, to ask a writer to leave for not being a good fit, for never submitting material for critique, for not contributing to or benefiting from the group for an extended period of time, for ignoring rules, for rarely being able to attend meetings, or for engaging in other unacceptable behavior. Group leaders may also remove a member with or without notice of removal for any of the above reasons. It’s for the good of the group, never personal.
New Members
Upon admittance, new members are considered trial members. Potential new members may not submit and do not participate in critiquing at their first meeting; they observe quietly to get a sense of how the group functions. At the second meeting, potential new members may, but are not required to, be critiqued and critique others within the confines of a LIMITED CRITIQUE.
Limited Critique
The limited critique is briefer and produces less feedback. Anyone may choose this critique, but it is mandatory for potential new members. The critique begins with a Praise Round in which each critiquer makes a single positive comment, followed by suggestions in which each critiquer comments on a single weakness. Critiquers may pass, or just agree with a “ditto.” A weakness should be more or less a single element/topic. For example, a weakness might be “I didn’t understand the opening paragraph” or “I was confused about x because a and b.” Or “the character seems inconsistent. In the first scene, she said/did x and y; in the next scene, she said/did a, b, c.” Critiquers may include a possible improvement in their sole weakness.
Tryout Period
Potential new members get a try-out period of six meetings during which they should submit at least a couple of pieces for critique. A try-out period gives everyone a chance to see if we’re on the same page and if it’s going to work out. At the end, if everyone’s happy, the potential new member officially joins.
If it turns out the group is not a good fit, it’s expected that the writer will give up their spot, no hard feelings, so that someone else can join. The group leaders reserve the right to ask a writer to leave for not being a good fit.
Before being allowed to join or participate in The Novelists’ Spot, members must agree to the terms of behavior and conditions outlined herein by signing below.
TERMS & CONDITIONS
Bullying, harsh criticism, cynicism, negative talk, meanness, snide remarks, personal attacks, superiority, and condescension are strictly prohibited. We do not cater to nor entertain egos or tolerate bad attitudes. No exceptions. Violators of this ironclad rule will be ejected from the group—and no refund will be provided. Simply aim to be kind, sensitive, and considerate of others in your delivery.
Spam, self-promotion, and other promotions are prohibited. This is not the place for such.
Do not insist that others adopt your style, morals, or values.
Sharing any aspect whatsoever of another writer’s ideas or work with ANYONE outside the group is strictly prohibited unless the writer has given permission beforehand. Respect others’ confidentiality.
Group members have the right to opt out of a critique. No explanation as to why you might opt out is required. If you are critiquing a piece on a subject that is too controversial, inflammatory or difficult for you, you may say, “I prefer not to comment on this piece.”
Unless otherwise agreed upon by group members, distribute your work in the best shape possible. Avoid placing an undue burden on your members to correct obvious problems.
Leave your egos at the door. You are not here to dominate any conversations, make yourself look like a better writer than anyone, nor impose your will on others. No need to ‘defend’ your work.
Honor your attendance agreements. Your host(s) and members block out the time to dedicate to the meeting. Failure to uphold your attendance commitment affects all members. If you absolutely cannot attend, notify the group as far in advance as possible.
Be on time to the meeting. Your members rely on your feedback. If you are late to the meeting, you deprive others of significant input to their work. They may not get a second chance for that contribution. And, if you are late, you interrupt a meeting already in progress.
Do not bring your work to critique expecting only praise.
Submit your work by the deadline or you will have to wait for the next submission opportunity.
Honor the word count/page limit. If you submit more than the specified maximum, do not expect them to be read.
If you disagree, do not argue. This is not up for discussion.
Other Tips
- Avoid repeating yourself or other critiquers who have the same comment.
- Be aware of your own personal preferences. Try to temporarily become a reader of that particular genre.
- Avoid vague judgments and sweeping generalizations which are unhelpful and sometimes even insidiously destructive. Always be specific–praise specific strengths, techniques, and passages; suggest improvements for specific weaknesses.
- Be considerate and gentle, yet professional.
- Do not ask personal questions unrelated to the piece or that do not need to be asked for purposes of the critique.
- Help others develop their style rather than imposing your style on them.
- Be nice, but also impersonal and objective.
- Avoid showing off how much you know about Black history, science, English, etc.
- Avoid the discourtesy of publicly dismissing others’ feedback.
- Be patient and sensitive to different writing levels. Try to gauge comments appropriately. Avoid being completely uncritical on weak work or unrealistically harsh on polished work.