Reasons To Be In More Than One Critique Group

Common advice writers are given when new to the industry is to find a critique group—a group of writers who share their stories and provide each other with feedback to improve them. Some benefits to being a part of a critique group:

• Your writing skills will improve as you analyze what is working and not working in other stories.
• You help each other learn about the industry, share the frustrations, and celebrate the good news, both big and small.
• Having regular meetings with a critique group gives you a deadline to write/revise your stories.

Those are all good reasons to join a critique group. But, if you can, consider joining more than one. I’m in four! Each have different structures and time frames for submitting a story for critique and providing feedback:

• An in-person group that focuses on picture books and meets once a month.
• An online group for picture books where two authors submit a story each month.
• An online nonfiction group for any age group of KidLit—PB to YA—where we take turns submitting stories every two weeks.
• Another online nonfiction one for just picture books where we can submit one story each month, but we are very sporadic.

Why do I like to be in more than one critique group?

• As we all know, writing is subjective and so are critiques. And different writers might be better at critiquing different aspects of your story. By submitting the same story to different groups, I get many view points. While various view points may be conflicting, if I see some repeated comments about the same issue, it’s a really strong indication that that part of my story may not be working. And while I may not make every change suggested, the various opinions at least makes me think about things I might not have considered. That is always a good thing.
• As I noted above, my various critique groups work in different ways for submitting a story for critique and for providing feedback. Depending on the schedule each group has determines when I can send a story for review. Sometimes I have deadlines that I’m trying to meet and my turn for submitting might not coincide with when I need the feedback. Being in more than one group increases my odds of getting the feedback when I need it.
• Sometimes one critique group has seen a story multiple times. As the saying goes, you only get one time to make a first impression. It can be hard for a critique group to review a story they’ve seen multiple times since they may bring their previous views to the one they are reading. By submitting a story to a different group for the first time, I’m getting a “clean” take on that story.

Other authors have also shared why they like being in more than one critique group:

Kathy Halsey, author of BE A RAINBOW (KiwiCo), is in two groups but also has several critique partners. She states, “Having all these groups gives me different perspectives, a broader view of how my work is seen by others, and a way to keep several stories going at the same time."

Lisa Katzenberger, author of A LOVE LETTER TO MY LIBRARY (Sourcebooks), among others, is also in two critique groups. She says “I love sending the various groups a PB at different stages of revision.”

Lynn Becker, author of JUNE MOON (Familius), states, “ I have two that meet regularly as well as various friends I can usually send work to when I need fresh eyes. It’s especially important for work that needs lots of revisions, when one group has seen something just too many times.”

It can be hard to find one critique group, much less four. How did I find them? 

• SCBWI regional conferences: I found my in-person group when I joined SCBWI about 15 years ago. Our regional chapter had a list of contact people and critique groups they formed. I reached out to one person who had a picture book group and they had an opening. Another time I was at a different regional conference and connected with a another PB writer. She mentioned her online critique group had an opening and wondered if I would like to join them.
• The Writing Community: The other two groups came about from writing connections I made, mostly from online groups, like 12x12, in Facebook, or the SCBWI Message Boards.

Tips on finding your own critique group (or two or three):

• Attend writing conferences/classes both in person and online where you will meet fellow writers. The bonus with connecting with writers from classes you take means that you have similar writing goals or interests.
• If you are on social media, connect with other writers there. Twitter/X has a hashtag for various writing categories: #kidlit #5amwritersclub #nfforkids, etc. Bluesky also has an active #kidlit group. Sometimes classes you take will form their own group on Facebook. Facebook also has groups like Kidlit411, SubItClub, etc. Kidlit411 has a specific Facebook group for manuscript swaps:  https://www.facebook.com/groups/KIDLIT411MSswap/.
• The SCBWI Discussion Boards: If you are a registered member with SCBWI, there is a thread called “Find/Join Critique Groups” on the discussion boards. Click here: https://www.scbwidiscussionboards.org/index.php.
• Inked Voices: Inked Voices is an online group for writers. It has a membership fee but it is a great place to find fellow writers and to dig deep into craft. Once a member, you can find “critique pop-ups” and join critique groups. Plus they offer workshops with agents, editors, and published creators. Learn more here: https://app.inkedvoices.com/.

I’m certain I would not be a published author without the help from my critique groups. I also know that the friends I have made through my critique groups have helped me weather the challenging aspects of the KidLit industry. I’d love to hear your thoughts on critique groups or advice where other writers might find critique partners in the comments of this post.

©Yanka Photography

Debra Kempf Shumaker started reading at the age of four and hasn't stopped since. She grew up on a small dairy farm in Wisconsin but now writes picture books from her home in the suburbs of Northern Virginia. She is the author of FREAKY, FUNKY FISH (2021), TELL SOMEONE (2021), PECULIAR PRIMATES (2022), and the upcoming WIND IS A DANCE (October 1, 2024). 

Debra is a member of SCBWI, several critique groups, and also a co-host of #PBPitch, a Twitter pitch party for picture books. Debra reviews picture books on Instagram every Monday, Wednesday, and Friday, firmly believing there is a picture book for every reason, every season, and every age. Visit her online at www.debrashumaker.com, on Twitter or X at @ShumakerDebra, on Instragram at @debrakshumaker, and Bluesky at @debrakshumaker.

Coping with Critical Reviews - Advice from NetGalley Insights

This post from NetGalley Insights, Coping with Critical Reviews, contains some excellent advice:

"When you put your book out into the world you are hoping to find its biggest champions and most devoted fans. But, of course, no one book will appeal to everyone."

Points they suggest we all keep in mind include:

Remember that star ratings are relative

and

Resist the urge to respond

and even

Glean valuable data in critical reviews

"Sometimes critical reviews can help you better target the right kinds of readers, or tweak your marketing copy. For example, if you have been promoting your book as YA, but critical reviews are saying that it’s too young for a teen audience, consider positioning it as a Middle Grade book instead. Or, if reviewers are expressing surprise at the content, consider revising the way you are describing your book. You want to entice readers, but you also want to find the readers who are most likely to enjoy your book as it is."

It's an article well-worth reading. That is, if you read your reviews. (And I've heard from many authors who don't.)

 How do you deal with critical reviews?

Illustrate and Write On,
Lee

SCBWI TEAM BLOG Pre-Conference Interview: Brenda Bowen

Brenda Bowen

With 25-plus years in children’s publishing--as editorial director of Henry Holt & Books for Young Readers, Scholastic Press, Disney/Hyperion, and Simon & Schuster Children’s Publishing--Brenda Bowen began agenting at Sanford J. Greenburger Associates in 2009.

She reps a slew of talented writers and illustrators of picture books, graphic novels, and middle-grade and teen fiction (as well as a few authors who write books for grown-ups). Plus she's written a number of award-winning picture books under the name Margaret McNamara (and is herself repped by Greenburger).

With her wealth of experience and perspectives, who better to serve as faculty at the 40th Annual SCBWI Summer Conference? Here Brenda clues us in on a session she's presenting, offers advice on critique meetings, and gives some helpful Dos and Don'ts.

To learn more about Brenda Bowen, visit her website.


At the SCBWI Summer Conference you're doing a session called "The Art of the Deal: A Publisher and An Agent Take It to the Mattress." Sounds exciting! Please explain what we're in for. (I'm assuming it's in no way a tie-in to the poolside pajama party.)

Alessandra Balzer and I are taking it the mattresses in the metaphorical, or Godfatherly, sense. We're going to duke it out over an acquisition: she'll be the gracious-yet-determined acquiring editor, and I'll be the rapacious-yet-equitable agent. We've come up with one fabricated acquisition and we'll take our audience through the process from submission letter to winning bid. Along the way there'll be a few hiccups, just to keep it interesting and informative. This is a session for people who want to know exactly what it takes to sell and buy a book.

You have decades of editorial experience and are a writer yourself. How does your background effect your agenting style?

Decades! Yes, I suppose it's true. The editorial experience allows me help the author to get her book into shape to show a publisher. I like to make the book as strong as possible without wringing every drop of creativity from the author so that there's something left to give when the editor asks for more changes. Having been an editor for so long also enables me to interpret what publishers are saying (e.g., "Fish on the table!"). Being a writer myself allows me to see things solely from the author's point of view. I can sympathize with their emotions--from torrents of unchecked rage (as a result of, say, a bad review), to childish elation--"They like me! They really like me!" (as a result of a good one).

Are you open to taking on new clients? If so, what areas interest you most? (I read conference notes on someone's blog that said you're not big into YA--true?)

Yes, I am open to new clients, especially in middle-grade and YA. I am big into YA and always have been, what I'm not so into is YA paranormal.

You're doing manuscript critiques during the conference. Can you offer some advice to writers on getting the most from a critique meeting?

Honestly, I think writers should use the time to get whatever they want out of the critique. If you, dear Writers, only want to hear about the good things in your manuscript--say so. If you want brutal honesty, gird your loins. If you want to hear about the market, go ahead and ask. If you want to know what the editor is looking for, lead with that question.

Finally, please offer some Dos and Don'ts for interacting with agents in a conference environment.

• DO remember that agents can't read manuscripts on the spot.
• DO listen: If an agent says, I am just too worn out to hear your pitch right now, don't pitch right now.
• DO bear in mind that agents are as open as possible at Conference, but may be less accessible when they're back at their desks, so if an agent says, Go ahead, talk to me, then...
• DO take advantage of the fact that at SCBWI you can have a real conversation, in person.

• DON'T think that one agent's opinion is every agent's opinion. Publishing is extremely subjective.
• DON'T only ask about ebook royalties.
• DON'T post photos of agents dancing in their pajamas. Please.
• DON'T forget that we need you as much as you need us.