CRITIQUE GROUP ETIQUETTE
by Kim Kozlowski

The objective of a critique is not to destroy, but to enlighten. Learning to critique is like anything else in life. It isn't knowledge we're born with. It's something we must learn through trial and error.

When putting together a critique group, not only should you take your individual roles as critiquers seriously, but you should also strive to help one another grow, both as writers and as insightful critiquers.

Critiquing another writer's material should never be done without sensitivity. Never sit down with a red ink pen in hand, and attack the material before you with all the gusto of General Norman Schwarzkopf going after Saddam Hussein. If you possess limited knowledge of grammar and punctuation, then resist the temptation to proof for mechanics. On the other hand, if you have been told you have a knack for chapter dialogue, or have a wonderful talent for using the Five Senses, then let that be your contribution to your critique group, until your other proofing abilities come up to par.

Critiquing Hints

The following are some helpful suggestions for when you critique:

1. Use a pencil or a soft-colored ink. Red ink "bleeds" all over the page and makes the critique seem harsh when perhaps it is not.

2. Make suggestions to correct what you believe is wrong with the manuscript. Don't just say, "I don't like this." Explain why and give suggestions to improve.

3. Consider the draft number of the material you're critiquing. If the material is in first draft form, picking apart the author's incorrect use of punctuation may be premature. In early drafts, concentrate on whether the relationship between the protagonists is working, whether their goals, motivations and conflicts are clear to the reader, without benefit of insider tips from the author. Examine the plot sequences for weaknesses, contrivances and holes.

4. Disregard your personal reading tastes when you critique. In a critique group, each member takes the role of an impartial tool for fellow group members to use in order to hone their manuscript into salable condition. Whether you personally prefer reading contemporary categories or historicals should not come into consideration when you critique a fellow group member's paranormal/fantasy, or first person mystery.

Which brings me to one final note. If you are in a critique group as diversified as mine, where everyone is writing in different genres, then it is logical for each of you to read each of those genres in order to give those authors writing outside your particular genre a valuable critique. One author in my critique group writes first person mysteries. I'm writing paranormal/fantasy. Guess what I'm reading when I'm not reading paranormal/fantasy?