As of January 2015, our SCBWI Ireland website has now moved to: http://ireland.scbwi.org. Please visit us there!
Because SCBWI Ireland members are scattered across Ireland, it made sense to establish an online critique service.
“Scribblers” is a monthly critique group that is run entirely through emails. It is currently administered by Kieran Fanning, but participants are based in many locations.
Scribblers is closed to new members for the 2014/2015 season. However, do contact us at firstname.lastname@example.org if you’re want to be added to the waiting list. If we have enough people and someone is willing to volunteer to be the admin, we may be able to start up a second online group.
The first Wednesday of each month, two participants submit a piece of writing, usually between 500 and 2,000 words, depending on the genre and age range. The other participants then have until the first Wednesday of the next month to read and critique both submissions. Feedback is sent to the Administrator who collates the feedback into two emails, one for each submission. The feedback is sent to the entire group, so that everyone can learn from the critiques of the other participants. Different people will always see different things.
There is a rotation list set up by the Administrator for each month from September until June of each season. There are no submissions in June, just the final feedback and a wrap up for the summer break.
How to critique
There are guidelines for critiquing each other’s work, which we follow. No one should ever feel attacked or belittled. We are here to encourage, learn, and support each other in our efforts to improve our writing, but for a critique to be truly useful, we need to be able to objectively point out flaws or items that may require change/improvement/consideration.
We try to provide a fresh pair of eyes and an outside perspective, where an author might be too close or too deeply engrossed in their writing to see potential problems or solutions. Above all, this feedback is always for the author’s consideration. He or she is free to accept or reject anything that is given by the group.
Notes on Participating in an Effective Critique Group
(Apologies, I don’t know the source of these notes, but they are excellent!)
Take the commitment seriously. Don’t view deadlines in your critique group as flexible, missing them if something “better” comes along (unless of course, it’s a true emergency). If other members take the time and effort to submit work, you owe it to them to participate.
Lots of activity. The more writers are using a given critique group, the more likely you are to get plenty of timely advice on your own writing. Not only that, but the more often you critique someone else’s work, the better your own writing will be. Besides, what’s the point in joining a group where nothing ever happens?
Politeness. It’s the mark of the professional, whether paid or not. Even if a piece is terrible, telling the author that s/he is a dreadful writer who should never write again is simply inexcusable. Good critiquers will say honestly what they didn’t like about the piece, but they’ll also suggest what can be done to improve it. It’s a rare piece of writing that has no room for improvement, and a good critiquer knows it.
The honour system. After reading and critiquing a story, members of the group should delete the message it came in (if by email) or dispose of printed out work, and promptly. Hoarding old stories not only takes up space on your computer or in your home, but it’s also bad practice when it’s not your work and amounts to stealing another writer’s ideas. If you liked it, support the author by buying the publication or visiting the website where its published.
Moral (and professional) support. It’s great when members can share their victories—and sometimes, their frustrations. A good critique group will be open to reports of its writers’ successes, trials and tribulations. It’s also a great place for writers to share market information and thus help each other to get published.
Be tactful and respectful. When commenting on someone else’s project, remember that how you deliver your remarks is as important as what you actually say. True, creative types need to develop a thick skin when dealing with editors, but a critique group should provide a kind of safe haven – you can be constructive without being destructive. People who feel attacked (whatever the intent) are not likely to return.
How to Read a Critique Without Flinching
Getting feedback isn’t always easy or pleasant. If you want syrup, go to a pancake restaurant; if you want roses, go to a florist. But if you want honesty, be prepared to face the unexpected.
A critique group is full of unexpected reactions to works you thought would be straightforward, and new writers are often fazed by this. Don’t be. Plunge right in and read all critiques of your piece, then go back later and read them again. Don’t discount any advice, even if you don’t agree with it. Remember, not everyone shares your tastes, nor should you expect them to. One person’s great creative breakthrough is another’s big yawn. And sometimes, an unexpected suggestion might be the thing that helps transform your so-so piece into something highly publishable.
But suppose somebody has said something incredibly hurtful or downright unhelpful. Should you argue with this? Not on the public forum. In private e-mail, if you’re really that upset, you can say what you will, but don’t be surprised if you get an even nastier response back. But why waste your valuable time and energy getting locked in a flame war?
Fortunately, really scathing critiques seldom come up in a good group. And often what looks awful on the surface of things amounts to little more than a misunderstanding (not all critiquers will understand what you’re trying to say), or a difference of opinion (the other person may understand it and simply disagree with you.) You can thank them for taking the time to look it over, and not follow a word of their advice.
What Advice Should You Use?
Clearly, if two or more critiquers suggest similar changes to your work, they might be onto something. If half a dozen or more give the same advice, you should seriously consider it. If everyone stumbled over the same sticky patch in your piece that you encountered while writing it, take their advice with profuse thanks. But even if just one person pinpoints a trouble spot you had while writing, pay close attention to their suggestions as to how to fix it. It’s uncanny how often another writer will be right about something like this!
Much advice you get will be unusable—some of it simply due to differences in taste, some because it would turn your piece into something it’s not. Pay attention to whether the critiquer is close to your original vision for the piece, but don’t expect them to treat it as gospel. And keep an open mind—sometimes, a complete change of direction is exactly what a good piece needs in order to become an outstanding one.
Getting the Most Out of Critiquing: A Final Thought
You may not believe it, but the best way to become a better writer is not getting critiques—it’s giving them! By helping other writers find their way through the maze of language, you help yourself. You find yourself getting original ideas at an amazing rate; you feel great when you’ve suggested something that will make someone else’s gem shine; you’ll even find surprising new ways to spruce up your own pieces, including stinkers you thought you’d given up on long ago. Writers need to write every day, and writing critiques is a good way to limber up for your daily verbal workout. And on top of all that, you get thanks for good advice—and more of the same in return.