Tags: comfort zone

To join or not to join, that is the question

by ScrivaMichelle
Published on: December 7, 2011
Comments: 2 Comments


Hi, I’m Scriva Michelle–the new girl. A few weeks ago I was officially inducted into the Viva Scrivas (a terrifying hazing from which I am unlikely to recover). It’s been a long, ambivalent road for me deciding whether or not to join this talented writing group. I work part-time and have young kids, so finding time to write has been a major struggle for me. THE major struggle. I’ve had a number of children’s books published, but I wrote them all before I had children. Ten years ago!

Once the kids arrived, I felt like if I was taking time away from them, paying someone else to watch them, I should be doing something that actually paid more than the cost of the childcare. My writing virtually stopped.

But my old writing partner, Scriva Liz, never gave up on me. During those non-writing years she continually reminded me that I can write, that I love to write and that I should get writing again. She is a persistent gal, that Liz.

In an effort at full disclosure, I’ve been thinking about why I resisted the pull of the critique group. Here are the fears that have kept me away until now:

1) I HAVE NO TIME. I will fill up the tiny amounts of time I have for writing with critiquing other people’s manuscripts (which is already what I do for paid work–I’m an editor). After all, critiquing is much easier and more fun, at least for me.

2) I HAVE NO TALENT. I will be discovered as a fraud, a non-writer. I will either not be able to actually write again (it has been nearly 10 years, after all), or the group will realize, once they read my first submission, that I actually suck.

Neither of these fears is unique. In fact, they are cliché writer fears. But there you have it: not only do I have no talent, I am also a cliché!

So why do it?  Why not write at home, alone, and never show it to anyone? Now that I’ve taken the leap, I’m seeing the positives:
1) I NEED A KICK IN THE ASS. What has happened in the past few months that I’ve been dipping my toes into the group to see how we fit is that I’ve actually been thinking about writing all the time. I’ve been listening to the similar struggles of other writers in the group and realizing that I’m not alone. Feeling the pressure to do it. And I’ve been writing. For the first time in 10 years.

2) I NEED DEADLINES. Meeting once a month forces me to at least sit down once a month and try to get some words on the page. If I don’t submit something to the group at some point it’s going to be embarrassing. So I have to work. Someone is waiting.

3) I NEED SUPPORT. I’m starting to realize that maybe the reason I stopped writing for 10 years is that I needed some support. Some cheerleaders encouraging me to skip the kids’ soccer games for once and choose to write instead. Some talented people to sit with as we all stare at the blank white page and painfully pull the words and the stories from our heads.

And I think it’s working. I went on my first writing retreat last June, and now, five months later, I have about half of a middle grade novel written and the rest outlined. I actually survived the first critique of my early chapters, and while the Scrivas have given me plenty to work on for revisions, nobody laughed me out of the room. Nobody said, “You suck! Who in the world ever suggested you could write for kids?” At least not out loud.

And yes, I do struggle to find time to write my own stuff AND read/critique the other writer’s manuscripts. But there are words on the page. Finally. And another deadline next week.

I’m in. Time to get writing.

Concrete Ways To Suss Out Potential Critique Group Members

by Amber Keyser
Published on: June 4, 2011
Comments: 1 Comment

OR:  HOW TO MAKE YOUR OWN SCRIVAS

Our readers often ask how they can find a group like ours.  In the FAQ section of this blog, we offer general suggestions for how to connect with other writers, but that is only the first step.  Once you’ve identified a list of people that all want a great critique group, how do you make it happen?

FIRST, ask questions up front to try and assess fit.

How long have you been writing?
How much time do you have for writing?
What are your writing goals?
How often would you like to meet?
How often will you have a piece to critique?
What is your writing/publishing experience?

There are all sorts of reasons we write, and there needs to be a match in terms of purpose.

I was in a group once where one woman was a visual artist who was writing to keep her creativity alive  until her kids were old enough for her to go back to oil painting.  I was trying to build a career as a professional writer.  Mismatch!

Another time I was with a group of women where everyone but me was primarily interested in writing stories for their own kids.  Again, mismatch!

Finally, I exchanged writing with one superbly, talented writer, who had a very demanding full-time job.  She and I could not keep the same pace. Mismatch!

SECOND, ask potential critique group members to participate in a book round table.  It would work like this.  I’ll use a picture book group as an example but this will work with any genre.  Ask each participant to bring in 2-4 picture books (published by strangers) and be prepared to point out what works and what does work about each one.  This is a non-threatening way to see what kind of a critique that person might give.  Plus it is a fun way to practice analyzing manuscripts.

THIRD, do a test drive manuscript exchange — a clean version of “I’ll show you mine if you show me yours.”  Read each other’s work.  This will enable you to assess whether you can get behind that person’s writing.  One key to Scriva mojo is that we have an immense amount of respect for the writing of the other Scrivas.  You’ll know quickly whether your potential critique partner is doing work that you can believe in.

The EXPERIENCE question.  A fit on the “experience” level is the trickiest.  The truth is that new writers benefit most from being with experienced writers.  Experienced writers tend to need each other while a group of new writers may not have the expertise to proceed effectively.  There is an obvious problem here.

What is a new writer to do?

Remember that many unpublished writers are very good writers and may be very good critiquers as well. The missing piece is knowledge about the business and professional connections.  A group of new writers can divvy up tasks and take steps to educate themselves.  (Wondering how to do this?  I’ll have to do a blog post!)  You can also invite more established, local writers to come as a guest to your critique group.  Many may be flattered by the opportunity to share their knowledge.

And you experience writing professionals out there…  consider taking a flyer on a newbie.  It just might be the best thing you ever did!

 

 

Law School, Critique, and Creativity

by Ruth Tenzer Feldman
Published on: May 23, 2011
Comments: 2 Comments

case law

An eon ago in law school I studied the 1929 case of Hawkins v. McGee. Here’s the plot: Hawkins injures his hand and goes to Dr. McGee. McGee says he’ll fix that hand as good as new. He does a skin graft from Hawkins’s chest, resulting in the hairiest palm you ever did see. Hawkins is not a happy camper.

In class that day, my professor let me get nice and comfortable arguing for poor, hairy-palmed Hawkins. Then, bam! He forced me to defend Dr. McGee. Unfair! How could I make the case for such an unscrupulous quack?

Now I see how well my law professor would have fit into Viva Scriva. The Hawkins-McGee flip pushed my brain to get comfortable with the uncomfortable.

Discomfort puts our brains on alert. It can spark curiosity, if we are lucky—or fear, if we are not. Too much discomfort and we freeze. Too much comfort and we stagnate. The mental gymnastics of a Hawkins-McGee exercise helps us to find the right balance that keeps us moving. It’s a way to shake up the primordial soup that nourishes creativity and sustains a good story.

A critique group session works best for me when it travels into the discomfort zone and then assures me that I’ll somehow manage to turn my discomfort into a better manuscript. So my advice to you: Get comfortable with discomfort. Argue the other side. And watch out for skin grafts.

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