Critique Groups, Critique Partners: We All Got 'Em, We All Want 'Em... Part 1 by Kathy Halsey

"Now here comes the big ones. Relationships! ( critique groups) We all got 'em, 

We all want 'em.

 What do we do with 'em?

Here we go, I'll tell ya."  Fruitcakes by Jimmy Buffet

AKA "Parrothead"

I like to think of Jimmy Buffet as a philosopher of sorts. Writers of all stripes, including Parrotheads, need a well-oiled critique group. Going into my fifth year of serious writing, I know I function best  when my feedback fits what I need and I feel safe and confident about my parnters. I've been in a variety of groups over the years and thought my reflections may help our readers on designing, finding, creating the best group possible. 

With that intent, I posed these questions on Facebook to my wall and at KidLit411. Critique groups: 

• How does yours work? 
• How often do you meet? 
• What is the most valuable aspect of a group to you? 
• Why is a partner better for you than a group? 
• How do you leave a group, start a group? 
• Advice in general. 

Of course, the children's writing community being what it is, I had all sorts of wonderful replies which I'll share in a two part series. Today we'll focus on what I've learned and part two will cull the responses I've seen and on line resources (Stay tuned for part two January 11, 2018.) A series developed because Susan Uhlig Ford replied," I've written a number of posts on this and SCBWI guidelines. I think you're going to have too much info for one post." She was correct. 

Personal Stories and Recommendations

1. As a newbie, it's important to join forces with folks who write for the same audience/genre that you do. I spent 1.5 years in a general group that met at an indie bookstore. Members wrote YA, fantasy, flash fiction, erotica, and memoir. I was the only picture book writer. At one meeting, the group consensus was for my Corgi story to be written in the shape of a dog. (I left that group soon after.) 

   

   A book in the shape of a Corgi???

2. It may take more than a few groups to find one that meets your needs. Keep at it. I've had 3 different groups out of many I tried that worked for me. AND, if you leave a group or one disbands, try forming a partnership with former members. (That happened with my first online children's group that included Andrea J. Loney and Lindsay Bonilla. We still shared manuscripts after that.) 

   

   Honored ot see early versions of Andrea J Loney's book

3. As with agent searches, know yourself and what fits your style. I learn the most when my critique groups are at similar point in their publication journey or more advanced than I am. (While in Phoenix, I met Dianne White whose debut BLUE ON BLUE was in the publishing pipeline. She carried an F&G into our meeting. Wow, how instructive was that?) 

   

   Dianne White shares the creation of BLUE ON BLUE at Changing Hands

4. If you're in a critique group with more accomplished partners, try to find your own unique way of contributing. (You may have a skill, former career that intersects with writing, as I did.) I was able to introduce Dianne to the indie children's department director since I book talked there. My 15 years as a school librarian gave value to the group even though I was green in terms of craft.
5. Assess your energy level, too. I've been in groups that met monthly, weekly, an even twice a week. (I really don't recommend that.) How long does it take you to digest feedback and rewrite? You may need a monthly group instead of one with a quicker turn around in order to do justice to your process.
6.  Adding or losing a member may change your group dynamic more than you realize. In one longstanding critique group,  members who left and those who came on board altered our group process. Feel free to be honest and leave the group if it no longer fits you.
7. Have at least a few loose rules to maximize time and effectiveness. How many folks get feedback a session? How long do you discuss a manuscript: 20 minutes, a half hour, as long as it takes? Written and verbal feedback or one or the other? Do you tackle big issues, line-by-line, or specific issues the writer asks to be addressed. 

What I Know Now

I've seen fruitcakes...Down in New
Orleans in the French market there are fruitcakes like you cannot
believe. New York, forget it. Fruitcake city. Down island, we've got
Fruitcakes. Spread them crumbs around. That's right, we want
'em around. Keep bakin' baby. Keep bakin'." Fruitcakes by Jimmy Buffet 

I'm the fruitcake on the left

This fruitcake has a multiplicity of riches with writing partners. I 'm in an on line group with writers from all over the United States. This brings different sensibilities and attitudes to my work. (A Texan may think differently than a New Jersey girl.) We are all querying so we critique pitches, twitter pitches, proposals and letters. We're serious students of craft and share books, webinar info (ethically, of course) and agent info. We're all experts in some area: Janie knows poetry and lyrical language, Monique has the funny bone, Pam makes us examine deeper issues, Charlotte hones in on plot points that don't work, and Melissa knows structure and creates amazing log lines. Together we feel formidable. (Suggestion  - make sure your partners have different strengths.) Finally, I have individuals I've meet at conferences or are from groups that disbanded that look at my manuscripts. I use them for new eyes on an old piece, for genres different than what our group writes, and to brainstorm new pieces. Good writers are lifelong learners and "I get by with a little help from my friends."(Wait is that another song lyric?) My critique buddies make me grow.

Meet GROGger Kathy Halsey ~ by Patricia Toht

Here at the GROG, we writers come in a variety of flavors. 

If I had to choose one flavor to describe my fellow GROGger, Kathy Halsey, it would be super-duper-confetti-cake-wonder-cream. (Okay, I cheated with all of the hyphens, but Kathy is all that!) Here's your chance to get to know her a bit better.

When did you first know that you wanted to be a writer? What drew you to writing for children?

Kathy: Since I was a child, books surrounded me. Both my parents read to us - MIKE MULLIGAN, MILLIONS OF CATS, and LYLE, LYLE CROCODILE, among other classics. Newspapers, Time, National Geographic, and Smithsonian magazines were everywhere.

After many years as a 7^th grade English teacher, I acquired certification as a school librarian and fell in love with books all over again. I experienced the power that reading had for K-12 students, the right book for the right reader, and I wanted to wield that power that writers have.

Now I write stories that I wish had been there for me as a child – biographies of women who knew no boundaries, adventure stories, and humorous tales to make kids laugh. Being a kid isn’t always easy. I advised many a student as an educator about big life issues, and I know they need to laugh.

 What inspires you to write? How do you come up with ideas that you want to write about?

Kathy: After my first PiBoIdMo (Picture Book Idea Month) in 2011 with the amazing Tara Lazar, I found that ideas surround me and can pop up daily. I enjoy coming up with titles, and I carry a notebook in my purse for brain bursts. The sheer exuberance, honesty, and lack of artifice in children inspire me. They are society’s truth tellers.

I carry a notebook, too, Kathy. What a shame if those ideas slipped away before we wrote them down!

Can you share your author history with us? How long have you been writing?

Kathy: I wrote poetry in 5^th grade, kept a journal off and on since I was 12, and was accepted into a juried master class in poetry at Ohio State. Writing to publish began in earnest 2.5 years ago when I hit a certain birthday ending in zero. I joined SCBWI, hit Facebook, and joined every group I could for writing challenges and information. My 15 years as a school librarian gave me the deep reading background all writers need.

What authors have mentored you?

Kathy: At my first AZ SCBWI meeting, I was blessed to meet Dianne White (author of BLUE ON BLUE), who became my first mentor and part of a face-to-face critique group in Phoenix. Ada Kent, friend, librarian, and former Newbery committee member, encouraged me to go to The Mazza Museum Summer Conference in Finlay, OH, several years ago. They instituted a writers’ track that year, and Ohio author Michael J. Rosen gave me my first critique. Alayne Kay Christian, Miranda Paul, Dianna Aston, Kristen Fulton, and my agent Jodell Sadler have all made an amazing difference in my writing! My writing buddies include a myriad of GROGgers, and Pamela Courtney, Jackie Wellington, and Pam Vaughn. They inspire me.

Kathy and fellow GROGgers
kicking up their heels with Kristen Fulton

If you could invite any author or illustrator to dinner, who would it be?

Photo by manhhai

Kathy: My dad introduced me to Robert Benchley and James Thurber. I’d love to chat with Thurber. We both love dogs, went to Ohio State, and I am doing research on him for a biography now. I adore his illustrations and dry humor.

Tell me about the reading program you started at the indie bookstore in AZ.

Kathy with illustrator Lynne Avril
at Changing Hands Bookstore

Kathy: I’m always in bookstores, and I noticed how adults often looked lost when choosing books for kids. I reached out to Gayle Shanks, the owner of Changing Hands Bookstore, an indie that’s been around for 40 years, volunteering  to do book talks for adults. Her sister, another former educator, also had the same idea, and the Grandma’s Club took off!

This rewarding experience gave me a chance to hone my public speaking skills, read tons of new books from picture books to middle grade, and connect with local authors. When I go on my first book tour (I think big – Julie Hedlund taught me that), I know that Changing Hands will welcome me with open arms.

What else would you like to share with our GROG readers?

Kathy: Believe in yourself.  Surround yourself with people who share your goal to be an author. Look for opportunities – make them happen. Be bold, brave, and generous to others in the field. Remember, children’s writers write for the noblest audience there is! Give them your best.

Kathy and me at the SCBWI LA Conference,
affirming that two GROGgers are better than one!

I'm so glad to learn more about you, Kathy! Thanks for giving us a taste of your life, and best of luck with your writing.