Looking For a Writing Critique Group?

 

We all need a helping hand now and then. Writers can reach out to other writers for some support or help in critiquing what they have written. 

I joined an online critique group many years ago when I was a newbie writer. There were no real requiremennts in the group. The leader was a wise and knowledgable and no-nonsense woman. I learned a great deal about the craft of writing. One day, Kate literally disappeared, never to be found again. All the members were beyond sad. Devastated might be the right word. One of the members decided to start a new group, and she invited a few of us, whom she thought would be right for her group, to join.  She named it Writers and Critters, the latter being short for critique. 

Wac, as it was known, became an International Women's Writing group, running 25-30 writers. A few members left for various reasons, and others came on board. The numbers in groups like this vary all the time. We've had a few members who left because of happenings in their lives but came back a year or so later. A few left after publishing a novel and spent more time marketing. 

At one point, we began discussing (onlilne) an in-person conference. With a lot of discussion and a great deal of planning, our first in-person conference was born. We met from various places at a lovely state park in Virginia, just outside Washington, DC. One of the greatest parts of that conference was hearing our writng friends actual voice, instead of readiong everything they said online. The conference was so successful that there were a few more planned and enjoyed. In place of that, we now have a zoom meeting every few months.

The group is made up of various kinds of writers--poets, fiction, essayists, memoir, and nonfiction articles. The numbers vary as new members arrive and some old ones move on. 

Right now, we have several openings for new members. Let me be clear:  This is NOT a group for newbie writers. I would consider the members to be in the Intermediate category. We have had members whose novels have been published, many of the poets have been published, as have those who write creative nonfiction. Some are still waiting to be published. Publication is not a requirement for membership. What is required?    

A. A willingness to help other wirters as well as seek help for your own writng

B. If you submit something, you are expected to critique two pieces

C. You are expected to give fair and honest critiques, but not harsh ones.

D. Members accept that a critique is meant to help them polish their writing, never to hurt.

If you are interested, you can apply for membership by sending me your email address, which I will send on to the moderator, Joyce Finn. She will contact you and ask for a writing sample and a brief history of your writing career. She will forward same to the membership, and they will vote on accepting you as a new member. It's not as harsh or scary as it sounds. 

Benefits of my membership in wac: 

I learned a great deal about wiritng and critiquing by reading the critiques others made.

I have made friends with writers from all over the USA, Canada, and other parts of the world. (our international members are only a few at this time)

My writing improved.

I received help in polishing my writing so that it was ready for submission for publication.

I had writing friends to answer any questions I might have.

There is no cost involved, only my time.

Interested in applying for membership? For those reading this post via my blog, send me your email address in the Comments section below. It will come privately to me, and I will not publish it, just send it to Joyce Finn, who will contact you.

For those reading on a facebook page, PM me your address at NancyJulienKopp on Messenger. I will forward it to Joyce, and it will be private. 

Questions? Contact me the same way as mentioned in the two paragraphs above.

Thinking About Theme

 The theme in fairy tales is often Good vs Evil

Note:  This is an article I wrote a few years ago that was published at a website for people learning to write. Even for seasoned writers, it has some points to consider. 

Writing is a gift given by God to only a few people.

The craft of writing can be learned by anyone with a desire to write.

Some truth rings in each of these statements. There are definitely people who seem to have a natural ability to write prose that sings, but with study and practice, along with a desire to learn the craft, anyone can write prose that is worthy.

It does not necessarily follow that because you can speak, you can write. Good writing comes down to identifying what tools you need to learn the craft and putting them to use. An understanding of theme is one of those basic tools.

Theme is often misunderstood or even ignored by the beginning writer and also by some who claim experience in the writing world. In her book Write Away, Elizabeth George says “…most novels are unified around their theme. This—the theme—is the basic truth about which you are writing, the idea you’re playing with..., or the point you are attempting to make.” This internationally best selling novelist goes on to say that even if theme isn’t addressed directly, the unification of the subplots will make it clear to the reader.

The theme in fiction and nonfiction is the central idea, or focus, that runs through the entire story.  For instance, most fairy tales use the theme of good vs. evil. We select a theme from both good and bad principles of life—guilt, greed, revenge, kindness, service to others, and unconditional love are all possible subjects for a theme in a story. Try making a list of conceivable themes for future stories.

The story you write should illustrate the theme without preaching to the reader. Few readers want to be told what the theme is. It’s much more fun to figure it out as you read. The theme should come through in subtle ways. If it doesn’t, it’s time to go back, rethink and revise. Ask yourself what message you want the reader to take away.

Some people confuse theme and plot. An author friend who writes historical fiction says that what your characters do in a story is your plot, but what they learn is the theme. The plot should illustrate your theme and leave a lasting impression on the reader.

Do you select a theme and write a story around it? Or should you write a story and see a theme emerge little by little? There is no set rule. Either way works, but you must be careful that you don’t scatter too many themes throughout the story. All that does is to confuse the reader who might think: What in the world is she trying to tell me? Pick a theme and stay with it.

When you pick up a book for your own pleasure, read with a critical eye. Look for theme in every piece you read. Search for the message the author sends and ask yourself if the plot of the story brought out the theme. With practice, you’ll find it easier to mentally critique the stories you read, and writing your own stories with a theme in mind won’t be nearly so difficult.

Some Points To Remember  

1. Theme is the central idea, or focus, that runs through the entire story.
2. The story should illustrate the theme.
3. What characters do is a plot, but what they learn is the theme.
4.  Let the theme come through the story in subtle ways; don’t preach.

Can Anyone Learn To Write?

Another taste of spring

Last evening, I was looking through the Wall Street Journal, when I spied an interesting half-page ad. The Great Courses was trolling for people to sign on for a course in writing fiction. Click on the link to get all the details of what they are selling.

What stopped me was what they said in one section. They tell the reader that writing great fiction isn't a gift reserved for the talented few. There is a craft to storytelling that can be learned,... They go on to describe what they term 'a master class in storytelling.' The course is taught via video, audio, DVD method.

I know nothing about this course, nor the professor who is teaching this 24 lecture course so I cannot tell you to run as fast as you can and sign up. Neither can I say run the other way. Looking at the lecture titles gives me reason to think that it is probably a course filled with good information for anyone wanting to learn the art of writing fiction. When you sign up for a course like this, you go on blind faith unless you have the endorsement of someone else who has taken the course already. 

I got my start writing by signing up for a correspondence course that taught people how to write for children. It served as the srpingboard to begin my writing journey. I had known no one who took the course. I went on that 'blind faith' and, for me, it worked out very well. My instructor wrote one final letter to me. In it, she said that she wished she could take credit for the writing ability I had after the 18 month course, but she told me that all she did was help me bring forth what was already there. A nice compliment indeed.

I do believe thst the craft of writing can be learned. Anyone who reads this blog regularly knows that I frequently urge new writers to take classes and read books on writing. I also believe that some people have an inherent gift for storytelling. Put both together and you've got something grand.

I know a writer who writes great stories with wonderful messages and is able to bring out the reader's emotions. She also shuns reading books about writing, taking a class or anything remotely connected. She is the exception to the rule, I think. I sometimes wonder if her writing might be even better if she did some of the learning the craft end but she's happy with the road she's on. Isn't that the important thing? 

A noble experiment would be for 10 people to take the same writing course, then follow their writing progress over a five year period. I am guessing that they will all be at different stages on the writing path. Those who learn the technicalities of the our craft but also have that special gift for storytelling will probably be much farther along. 

Whether we must be born with the gift of being able to write or we can learn it as a craft has been a debatable question for a very long time. I don't think there is a totally clear answer. Anyone care to comment? 

The Icing On The Cake

Today's post is an article that I wrote for a Children's Writer's Newsletter a few years ago. Although originally geared to people who write for children, the information works just as well for those who write for adults. I interviewed two people I considered experts in their field for the article. 

The Icing On The Cake
By Nancy Julien Kopp

A cake with no icing is about as appealing as toast with no butter. The
basic food is there, but the special something that makes it taste so good
is missing. The icing makes the cake sweeter, prettier, and more
appealing. A story may have a good plot but without the little extra, it
may end up being rather ordinary.

Sensory details enhance a story like the icing on that cake. We use our
five senses hundreds of times a day without being conscious of doing so.
Think about the many every day things you do that involve your senses.
When you look out your kitchen window and see a bird, your mind registers
more than the fact that you saw a bird. You know that it is a bird, you
know the color, the size, and perhaps the sound it makes, you know how
soft the feathers would feel if you stroked it. We see, hear, smell, taste
and touch with our daily experiences, so why not include them in our stories?

Children relate to things in their personal surroundings. They know that
the bristles of a brush might feel scratchy. They squeal with delight at
the sound of the ice cream vendor, and they wrinkle their noses when
taste-testing a new food not to their liking. Include these experiences in
the stories they read, and you could end up being a sought-after
author-the writer who made the story come alive.

Margaret Shauers, author of many children's stories and regular columnist
at Write4Kids, says "The way humans communicate is through shared
experiences and emotions, and we experience life through the five senses."
Ms Shauers has a word of warning. "We rely too much on sight and need to
hone our skills at the other four. Keeping a sense diary helps-a short
sentence or two about each sense every day." She admits that it is easiest
to include sight and sound in children's stories. Touch runs a close
third, but taste and smell are senses she must concentrate on when she writes.

Look at the sentences below. Which example in each set is more interesting?>

1.  Sam saw a big wave.  Or   Sam's heart leaped in his chest when he
spied the huge wall of water headed his way-taller than his basketball
goal at home.

A few added words allows the reader to see the wave headed for Sam.

2.  Sally heard thunder.    Or   Sally covered her ears when thunder
boomed overhead and echoed across the prairie. The wind whistled through
the tall grasses as she raced toward home.

We know that the noise is very loud if Sally has covered her ears, and we
can discern the sound in the grass, too, through the active verb form.

3.  The dead mouse smelled bad.    Or    The rotten stench of the dead
mouse made Susie gag, and clap her hand over her nose and mouth.

Gagging and covering her nose and mouth illustrates the nasty smell so
much better than simply telling the reader the mouse smelled.

4.  Tommy didn't like the vegetable.    Or    The slimy, green spinach sat
on Tommy's tongue and refused to move any farther. He'd never be able to
swallow the bitter stuff.

Here we not only know what the taste is, but we can also see the vile
veggie Tommy is trying to eat.

5.  Jody petted the cat.  Or   Jody giggled when the cat's soft fur
tickled her hand as she stroked him.

The sense of both touch and hearing are evident in this last sentence.

Did you notice that the first sentence in each group was a telling
sentence, while the next one showed what happened. Using sensory details
remedies too much telling.

Picture book author, Barbara Santucci, pays close attention to sensory
details in her three picture books--Anna's Corn, Loon Summer, and Abby's Chairs.
Ms Santucci says "The more sensory details we include, the richer our
writing becomes, and the more able we are to show and not tell the story
plot and the emotions we are trying to convey." Anna's Corn is a story
built around the sound of corn growing in Anna's grandfather's field.
There is, of course, a good deal more to the story, but the music of the
corn Anna remembers figures strongly in this tale of loss.

Ms. Santucci adds "Our writing should create concrete and vivid images in
the minds of readers that help them experience the emotions of the
characters, thereby creating a mind and heart connection between the story
and the reader."

That "mind and heart connection" is what a children's author strives for.

Adding lively sensory details will achieve that connection more easily.
For most of us, it's not a given. We need to practice writing those
sensory details so that they become second nature when writing a new
children's tale. Let sight, sound, smell, taste and touch be the icing on
the cake in your stories.

Exercises:
   

* Keep a Sense Diary. Write a short sentence or two about each sense
      daily.
    * Practice writing phrases that include sensory details
    * Watch for sensory details when you read.
    * Be observant. Take note of the sensory details in your daily life.

This and That On A Cold Friday

It's the end of a cold and snowy week so today I'm going to post a little of this and a bit of that. Let's begin with the entrancing photo below.

Unique Library: What could be more appropriate for a large public library than to have a facade of books. Downton Kansas City, Miss*ouri is home to this perfectly gorgeous library. Once a bank building, the inside is just as impressive. Read more about it at this blog post. You might be surprised that the author of the posting loved this building so much, her wedding took place there.

Workshops for Writers: I'd love to list all the workshops for writers offered around the USA but there are far too many. There are national, regional, and local community workshops and/or conferences, as well as online. I received an email the other day from a representative of the Highlights Foundation who wanted to publicize the many workshops put on by the Highlights For Children Magazine. They are geared to those who write for children, held in Pennsylviani and I believe they have some scholarships to help with expenses. Learn more about these workshops here. Do a quick search via google or some other search engine to locate other workshops and conferences that are closer to your home area to help you assemble all the pieces of the puzzle of being a published writer. 

Calls for Submissions:  Accidents happen and some of them are quite beneficial. Yesterday, I accidentally found a website that is a treasure trove of help in marketing your stories, articles and poem. Believe me, I quickly bookmarked it. Check it out here. Spend some time on this website and return to check new additions on a regular basis. 

Revising and Editing:  I can't say it often enough. The revising and editing part of writing is of five star importance. Yes, * * * * * of them. The point came rushing at me this week as I've been writing a story for a new Chicken Soup book. One of the members of my critique group found many places in the first draft that needed work. I used many of her suggestions in revising and then popped it off to her in hopes she'd take a quick look to see if she thought it was improved enough to send on its way. She gave me far more than a 'quick look' and sent it back to me. And yes, it is going through another revision. Frustrating in some respects, but also extremely helpful.