Finding the perfect writing and critique group online or off can be tough, especially if you aren't exactly sure what you want in a group. But with some thought and planning, you can start a group that fits like a glove and works for many years. Writing and Critique groups are definitely not just for beginning writers as many established writers really appreciate their groups as well. "I've been in an in-person group since 2000, and my on-line group for about a year," explains Bev. Cooke, author of Feral, due out from Orca Book Publishers in 2008, and Keeper of the Light, from Conciliar Press.

Barbara J. Turner shares, "I've been in my critique group for 16 years, and the group has been going for about 20 years. We've watched each others kids grow up, and have seen each other through divorces, deaths and cancers. We started out as beginners and to date, between the six of us, we have over 100 books published. (I'm the least published of the group.) My last book was Out and About at the Orchestra by Picture Window Books, Coughlan Publishing, 2002.

"The greatest benefit I've received from being in a writing and critique group is the sense of being part of a writing community," explains Keri Mikulski, author of Screwball (coming out in 2008 with Blitz Publishing. "Writing is such a solo venture. To meet with the creative writers monthly to critique, share stories, and cheer each other on, keeps me motivated and encouraged." Keri's group, Word Warriors, has been together for two years.

Lizann Flat, author of Let's Go!: The Story of Getting from There to Here (Maple Tree Press), has been part of a critique group since 2000. She says, "I think the number one greatest benefit I've received from being in a critique group is courage. My group is very supportive but also honest. We trust each other. Being in this group has given me the courage to write, the courage to submit, and the courage to persevere."

To have a great group of your own - you need planning. Writer and reviewer Julie M. Prince recommends, "Have clear guidelines and boundaries right from the start. Agree on when and how often critique submissions will be shared, including a limit to the length of the submission. The guidelines can always be subject to change upon agreement of the group, of course, but it's important to start off on the right foot in terms of boundaries. Also, be sure everyone is on the same wavelength when it comes to commitment. I once belonged to a small group (three members). One member got a full novel critiqued and then left the group before the other members had finished sharing. It was too late for us to bring in a new member, since we were well in the middle of our novels, but we both wanted more feedback than one person. All members should be willing to give and receive equally. And remember, you may be working with people who can give you a hand up in the publishing industry someday. Don't burn bridges with unprofessional behavior!"

So what are some things to consider?

#1: Do you need a face-to-face group or an online?

Online groups are definitely more convenient. You can read the group's work when you have time and respond when you have time. You don't have to host or find a host for the group. The group meetings won't be affected by weather. And if you want some group chit-chat, you can always schedule a meeting time in a chat room, there are many available online including the one at the Institute. It's always okay to have chit-chat meetings with your critique group in the ICL chat room as long as we have no scheduled event during that time. Part of the value of a group is in member-to-member support so it's important so schedule time to just be writer friends and chat.

Face-to-face groups are often more emotionally connected. It's a little harder to connect with folks you never see. Face-to-face groups can schedule holiday parties or celebrations of member sales. And face-to-face groups can often be counted on to attend your first book signing (always a morale booster since those are tough.) Also, face-to-face groups have the benefit of instant group interaction during the critiques, which can help make things clearer. Some face-to-face groups do suffer from "Queen Bee" syndrome if one member has a particularly strong personality, making other members hesitant to disagree and stiffling communication in the group -- so you'll want to watch for that.

Time and distance is often the most important variable for which group you need. Local group members can often be best found through posted noticed in libraries, stores, and local colleges. Online group members can quickly be found through "ads" in our own ICL eNews.

Face-to-face groups can also benefit from the use of email to let members see a manuscript to be critiqued before the next meeting, or to allow members to continue 'meeting' when face-to-face doesn't work. "At one time, our critique group met through emails because two of the members were unable to attend meetings due to family and job obligations," Keri Mikulski says. "We sent each other work through email and snail mail. Now, we're back together meeting face to face again this winter and it's great. The most important piece of advice is to keep open lines of communication. Critique groups are set up so everyone gets something out of them."

#2: How many people will make a good group?

Some writers like the closeness of having just one writing buddy to share experience and critiques with, but many want more than one perspective on a story. Still, a critique group does not need to be big - and a large group means a large commitment to reading and giving feedback, so keeping a manageable size will help all members receive fair feedback and help you keep up with each member's needs. "My advice to a new group is to start small (don't feel you need a lot of members) and be sure you like and respect one another above all else," Lizann Flatt suggests. "To do that get to know a little about what everyone's writing interests and goals are, and be sure to celebrate completed first drafts, submissions sent out, not just offers to publish."

Starting small and watching carefully that the group members are not feeling overloaded is essential.

#3: What do you want most in your feedback?

If you're feeling a bit fragile about your work, you may wish to make a rule that each bit of constructive criticism be matched with the pointing out of something the writer did well. This helps keep critiques from being too ouchy. However, you never want to overly stifle constructive criticism since the best value in a critique comes from learning what needs to change.

Deborah Lynn Jacobs recommends, "Give honest feedback, but be respectful and kind. Also, realize that people in the group may not all agree on certain points. That's okay. In the end, it's your book." As always it's important for the writer to judge criticism carefully. It's good to try different suggestions, but guard against too much 'writing by committee. It's always important to keep your vision of your story.

Some groups have the person seeking critique list several questions they most want the answer for -- like "Does the meter in this picture book work?" or "Do you think the voice sounds believably like a teen?" By sending questions, the manuscript's author helps focus the critique -- but it's best not to limit responses to only those questions since often they will allow the writer to overlook bigger problems.

Constructive criticism needs to be specific and backed by examples. It isn't helpful to say, "The voice didn't work for me," since it's difficult to know why. A remark like, "I questioned whether a twelve year old would really say 'I felt disenfranchized and powerless'" makes it easier to understand what the reader means. Editors and agents offer vague critique since that is all they have time for -- we need more from our critique groups.

Positive remarks need to be specific and backed by examples as well. A remark like "This is a lovely story" doesn't help the writer know exactly where the story is working. A remark like "I love your use of descriptive language" would be much clearer.

Another bonus to clear specifics is that it helps the reader to see when a critism might be personal reading preferences on the part of the writer. As Bev. Cook explains, "It's all too easy to let the members crit the book according to their particular interests, and not understand what it is you are trying to do. If you listen, in those cases, you can get away from the story you're trying to tell and end up telling a quite different one."

An important guideline for open honest critique is for the writer not to argue to the critique. "I prefer the format of the writer keeping quiet [that is, not defending their work or arguing] unless asked a direct question," says fantasy novelist Terie Garrison, author of The Dragonspawn Cycle. Because any kind of criticism can pinch at first, it's a wise writer who simply listens, asks questions only for clarification, thanks the critiquers -- then takes time later to ponder each point. It isn't essential that you agree with a critique, but by listening openly, you encourage the critiquer to give open critique. If the group is afraid to critique your work because they don't want to get into a fight, then you lose all the potential help they have to offer.

By setting clear guidelines early, many potential problems can be avoided entirely and everyone can feel both supported and helped.

#4: How Often Do You Need To Connect?

Critique groups usually meet weekly, biweekly or monthly, depending upon what the writers write, how much time they have in their schedules, and how quickly they produce. A writing group that requires critiques from every member and submissions once a week will quickly swamp working writers, but you don't want to end up with members who submit often but never critique either. Equally, writers who critique often but never submit can leave other members nervous of the writer's motives for being in the group -- balance is important.

Another thing you'll need to decide is how much members can submit at a time: a short story? A chapter of a novel? A picture book manuscript? A whole novel? Often seeing the whole manuscript is the best way to comment on plot and pace. "I've been in an online group for five years. We exchange entire manuscripts (middle grade and young adult) by email, and sometimes meet at our local SCBWI conference," says Deborah Lynn Jacobs, author of Choices (Roaring Book Press.) "The greatest benefit for me is having five or six people look at my manuscript with fresh eyes and point out my blind spots.

Giving critique shouldn't be seen as the "price" for being in the group as it also benefits both receiver and critiquer. In fact, learning to think critically about the work of others is as important to your growth as a writer as receiving critique yourself. In fact, as Bev. Cook explains, giving critiques might even be more beneficial: "By seeing what strengths and weaknesses other writers have, learning to spot what sings and what lies on the ground moaning, you learn to see those same areas in your own work and correct them." Terie Garrison agrees, "I've learned more about writing from critiquing others than from any one other thing."

And even beyond the give and take of critique -- members are teaching one another. "The #1 benefit of being in my critique group is that I got to read and listen to the work of the others in my group, who were all better writers than me," says Barbara Turner. "Seeing and hearing how they did things, (foreshadowing, understatement, description, etc) was far more beneficial to me than their critiques of my own work, which were also helpful."

#5: Avoiding Jealousy

It is the nature of this business that in any critique group, some good writers will see success before other good writers. This can lead to petty behavior and jealousy if the group isn't careful. Many wonderful groups have broken up when some members reach publication goals quicker than others. So, take care that praise for the success of group members focus on congratulations, not comments about "luck!" And back-biting behind member's back about such success needs to be squelched quickly. The reality is that even with tons of talent and hard work, success happens to different people at different times. A good writing and critique group will offer support for those working toward that first success and for those working with it.

Keri Milkulski says, "The best thing about critique groups is watching another member succeed. Two of our members' books will be published in 2008. It's an amazing experience and feel part of someone's success."

"My advice to a fledgling group is to commit yourself to the other members," says Barbara Turner. "Care about their successes as much as you care about your own. Do this, and you'll have a group that works well and stays together for a long time."

Ultimately, the benefits of critique groups are varied, but important. "The number one benefit I've received from being part of a critique group is growth as a writer," says Julie M. Prince. "I belong to a group of writers with varying levels of experience, which has allowed me to get a better overall picture of where I am as a writer. Those with more experience and wisdom give me something to strive for. The ones with a little less experience make me feel good because I'm able to share what I've learned. Many of those people, by the way, have given me some of the best writing advice I've ever received, so I'm happy to belong to such a diverse group. We've all grown together, and now two of our members are agented and have multi-book publishing contracts with major houses! I am constantly receiving tips about the market from my critique partners, too. That's never a bad thing!"