Fiction writers workshop suggestions

I notice there is a lot of interest on Gather in fiction writers workshops.  Having participated in fiction critique groups on and off for about 25 years and coordinated them for nine genre conventions (six at the international level), I thought I would post the advice I handed out to my participants.  It is meant mostly for one-time-only, face-to-face critiques, but many of these rules can be useful for any on-going or online group.

The following is not a list of things you must do, but for those who never participated in a writers' critique group before. Some of these points can turn into big issues that most writers prefer to avoid when they want to focus on the content.

•1.     Format manuscripts for submission as close to professional submission standards as possible.  The Writer's Digest Guide to Manuscript Formats, by Dian Dincin Buchman & Seli Groves (Writer's Digest Books), is a good resource for further details.  (Some groups are less formal than others, so it is best to learn their guidelines for what is acceptable.)

•2.     Always submit complete short stories only. If it is a longer work, never submit an incomplete scene. It is ideal to accompany a writing sample with a complete summary of a novel when the entire manuscript cannot be submitted.  (This does not necessarily mean a formal synopsis used for professional submission.)  Many writers feel uncomfortable commenting on a story without fully understanding its intent. (Some writers feel strongly otherwise, but they can simply ignore the summary.) Summaries also offer the critiquers the opportunity to comment on ideas and overall plot structure, as well as help resolve brainstorming issues.

•3.     Thoroughly read all manuscripts before arriving at your section. Feel free to mark them up, as when you return them it is frequently the best way to cite examples of the entrant's weaknesses.

•4.     Type your comments up. This makes you think about the story more and helps you organize your thoughts if oral comments are timed.

•5.     Be punctual when you go to your section. If anything, be early. The schedule for the room is tight and your group may not be able to make up the time. If too much time is lost settling down at the beginning, it comes off critiques.

•6.     Do not be afraid to point out the faults of another's story. Sometimes it is hard, but pointing out a submission's weaknesses is the purpose of a writer's workshop. Do not, however, overlook the points you enjoyed about it. Just remember to keep all comments tactful. There is a distinction between constructive and destructive criticism.

•7.     It is one thing to be able to point out flaws, it is another to solve them. When you see a problem, suggest ways to resolve it. This approach is not only more supportive to the person on the hot seat, but improves your skills as well. Sometimes it even helps clarify your train of thought. Just keep in mind suggestions given do not have to be used.

•8.     By all means, if another speaker raises a point you wholeheartedly support or violently disagree with, say so. Consensus is sometimes the best way to judge the remarks given. Once again, keep these comments tactful and do not interrupt the speaker. If your turn has already passed, then wait until the moderator allows general discussion.

•9.     Do not take story criticism personally. Some people do not realize what they are letting themselves in for the first time they ask for criticism in a workshop. Others may still be learning how to deliver a tactful critique.  Even the more seasoned workshopper can have a bad day.  You're basically going to be having a bunch of people telling you how they'd rewrite your story.  If you can accept criticism and learn to utilize it, your writing can grow quickly.