Building, Creating, and Sustaining Ideal Critique Partner Relationships

 By Suzy Leopold

Successful critique groups support a writer's journey by helping writers shine and create polished stories.

Organizing a thriving critique group: 

• Begins with the right group of people.
• Includes writers who write in the same or similar genre
• Is best with members who have a similar level of experience
• Incorporates established expectations and guidelines

Writers can grow, learn, and develop the craft of writing by giving and receiving manuscript critiques.

Giving a critique is subjective. Some writers read for meaning while others focus on word choice and grammar. 

Ideas for giving a manuscript critique:

• Always begin and end with positive comments.
• Be aware of your own biases and preferences.
• Read the manuscript aloud, then set it aside to think and ponder. Doing so creates a better evaluation.
• Be helpful and supportive with concrete information and reasons for suggestions.

Receiving feedback for a manuscript critique can be overwhelming. It's natural to want to protect your writing. 

Ideas for receiving a manuscript critique:

• Consider all comments by listening to or reading feedback with an open mind. 
• Do not interrupt or respond in a defensive manner.
• Ask clarifying questions to expand on the suggestions for a clearer understanding.
• Set aside the manuscript to think and ponder then revisit it. This will give you a clearer vision for polishing to stay true to your voice and vision for the project.

Photo Credit: Good Story Company

Whether giving or receiving a manuscript critique, read the story aloud and spend time with the piece. 

The writer spent time creating a story. A thoughtful, trusted critique partner spends more than five or ten minutes giving helpful feedback and should offer suggestions for improvement without changing the voice or vision of the story. If you share similar thoughts about feedback from members of the group, share a new perspective without repeating, "I agree" or "ditto." Additionally, this is not the time to be harsh nor is it time to be a “cheerleader” for the project. 

If a critique group meets in person, send manuscripts in advance electronically to members. This allows for additional time with the project followed by a discussion when the writers gather together.

Always say thank you after receiving comments for a critique. Then after much thought carefully consider all feedback. Think about listing the comments and feedback into three columns—Yes, I need to revise and polish; Maybe, I need to consider a revision; No, the suggestion does not resonate with me.

I reached out to writers, authors, and creatives on Twitter. I received the following suggestions from the kidlit community.

Sharing Twelve Responses:

Please note: Each link will share a redirect notice. Click to be sent to the website.

Keep the group under 12 but over 5. That way nobody burns out & people can bow out when they’re too busy. A slack channel works best for us since we’re all over geographically. There are no set meetings & no due dates unless someone’s on deadline. Google docs are your friends.

--Jess Hernandez, Author First Day of Unicorn School

Jess Hernandez Writes

Be consistent in participation and curious about things to learn from each other.

--Shaunda Wenger, Author Chicken Frank, Dinosaur

S. K. Wenger

1. Regardless of how you feel about the suggestions, always say THANK YOU.
2. You want a critique partner who sees things differently than you do. Otherwise, you might as well just edit yourself.
3. Remember, it's your book, you decide, keep your voice.

--C. Louise Donovan, Writer

When it’s your turn to receive critique, answer questions only. Wait until everyone is thru before asking *your* Qs. No interjections, no “what I was trying for was…(if you have to say that, it didn’t come across, and needs rework). They are there to help! Don’t get defensive.

Just bc someone suggested the change doesn’t mean you have to implement it. It’s YOUR work, you make the call.

But if you hear the same feedback three times, pls consider it, in some form.

--Bitsy Kemper, Author & Speaker

Bitsy Kemper Worth Reading

For some, flexibility is the key. Make sure everyone in the group agrees upon a general structure. Some groups have deadlines, that doesn’t work for me. In my groups, we have an understanding that we make requests when we are in need, and we always answer those who need help.

--Lydia Lukidis, Author and Freelance Journalist

Lydia Lukidis

Critique with kindness. The writer created something and was brave in sharing. Receive critiques with kindness. The feedback is meant to help (and you can disregard what doesn’t settle well with you).

--Monica Acker, Author Brave Like Mom

Monica Acker

Photo by S. Leopold 

It’s important to be honest and upfront about what you want to get out of the CG process. Big-picture guidance? Line editing? Discuss in advance how detailed you want your feedback to be so it’s an equitable experience.

--Louise M. Aamodt, Author A Forest Begins Anew, 2025

Building: start by swapping manuscripts. I was on 12 X 12 Challenge, but you can also go to writers Facebook page such as kidlit411 swap. If someone is a good fit for you (writing and critiquing) start a group of two. Set the rules and keep on swapping and finding good candidates.

Sustain: follow the rules set up by your group. Decide how frequently you will submit and how long you have to critique. Is it all by email or video call? Important: critique all manuscripts even if you didn’t submit anything. A lot of groups die because the critiquers can’t find time to critique. If you want to stay in this group, unless you have major emergency (let them know) keep up with the critique. We count on our partners.

--Ana Siqueira, Author

Ana The Teacher and the Writer

When giving a critique, be kind. Offer helpful suggestions, but always remember whose story this is. Don't try to rewrite it or make changes that don't adhere to the author's vision. Tell what you like, what you feel works for the story. If you are confused, say so. If the storyline confuses you, it would probably also confuse a child. When you find a problem with a line or paragraph, tell the author why.

Sandwich your critique by first offering a compliment, then tell what you feel needs changed or what doesn't seem to work with the story, and lastly, tell what you liked about the story. 

When reading a manuscript, listen to the voice. Does it ring true?  Envision the story through the character's POV. Does the author stick to the point of view of his/her character(s)?

--Debra Daugherty, Author  

Debra's Blog

Ten Reasons Why Writing Groups Flounder, Fizzle, or Fail:

1. Members use the group for the wrong reason. 
2. Critiques are too harsh. 
3. Critiques are too positive.
4. Members drop out before the group gels.
5. There are varying levels of commitment to writing.
6. Attendance is sporadic.
7. Sessions focus on content, not writing.
8. There is poor personal chemistry between members.
9. Members don't appreciate the different styles and abilities of the group.
10. There is jealousy and competitiveness.

--Kathy Briccetti, Writer, Blogger

Literary Mama

Be respectful, offer helpful suggestions without trying to rewrite or change someone's story.

--Kelly Swemba, Author

My World of Books, Band-Aids and Beauty

A tip that works for my group - we do a cold read and don't send out the ms ahead of time so the writer gets an idea how an agent/editor would approach it when they receive via their email.

And I suggest if the group is PB only, it's very helpful to have at least one illustrator in the group.

--Kathy Halsey, Children’s Writer, Educator, Speaker

Take the Write Road

I've found that there's no substitute for time! The trust that builds over time is really important in the crit partner relationship, so stick with it!

And communicate with your crit partners about what you're looking for on a particular piece: e.g. "This is rough but should I pursue the idea?" or " I think this is pretty polished, is it ready to send to an agent?" or "I know something isn't working, can you help me identify what it is?"

--Chris Mihaly, Children’s Author

Christy Mihaly

Photo by S. Leopold

For additional resources:

1. "The 4 Hidden Dangers of Writing Groups"

By Jennie Nash

Jane Friedman Blog, 2016 

2. Creativity, Inc.: Overcoming the Unseen Forces that Stand in the Way of True Inspiration

Written by Ed Catmull

Random House, 2014

3. The Writing Group Book: Creating and Sustaining a Successful Writing Group

Edited by Lisa Rosenthal

Chicago Review Press, 2003

Please share your tips and suggestions for successful and sustaining writing partners/groups in the comments. What have you found that works well for you and your critique partners/group?

Happy reading, writing, and creating.

My Top 10 Ways to Research Kidlit Editors and Agents ~ by Patricia Toht

Come, gather at my knee, youngster...

I started writing for children way back in the 20th century. (GASP!) While many aspects of writing children have changed over the years, one goal that has remained constant is to find the editor (or agent) who will love my manuscript. 

Here are the Top 10 ways that I've used to research editors and agents:

1. CWIM

In 1995, the year I committed to writing for children, my "bible" for researching editors and agents was the Children's Writer's and Illustrator's Market. This book contains listings that are updated annually - names, addresses, and pertinent information about each entity - as well as helpful articles. It is currently in its 32nd printing, so it must be doing something right!

2. Agency Websites

Agency websites are a great way to find a list of their agents and a description of what types of books they represent. You may find a list of clients, too, where you might spot artists that you feel an affinity to. Sometimes individual agents post their wish lists. Above all, this is a definitive place to find specific submissions information for the agency.

3. Edelweiss+

You can get a feel for publishing houses and imprints by looking over their current and upcoming titles, but long gone are the days of requesting printed catalogs. These days, with publishing houses merging and morphing, I find the easiest way to peek at a catalog is through Edelweiss+. I search for an imprint and find their latest list.

4. Other websites/blogs

There are so many great kidlit websites! My top picks for submissions information are:

The Purple Crayon. Harold Underdown's website has so much to offer! In particular, the "Who's Moving Where?" section provides me with the latest information on editor changes at publishing houses.

Kathy Temean's Writing and Illustrating blog has terrific, in-depth interviews with agents each month, as well as editor and art director interviews. 

KidLit411, by Sylvia Liu and Elaine Kiely Kearns, describes itself as "a one stop info shop for children's writers and illustrators," and that's the truth. Scroll down their Topics list to check out Agent Spotlight, Editor Spotlight, and Submissions.

5. Social Media

On Twitter, I find handy hashtags to harvest information on editors and agents. Do a search for these hashtags: #askanagent, #askaneditor, and #MSWL (manuscript wish list), to name a few. Follow your favorite publishers and professionals to keep up-to-date with them. 

6. Conferences and workshops

Attending conferences and workshops may involve a cost, but they come with the possibility of great rewards. Often you can get an editorial critique of your work, which lets you to get tips from the top. And faculty members usually open their submissions window for a few months for attendees - so important for unagented manuscripts!

7. SCBWI

SCBWI is the Society of Children's Book Writers and Illustrators. If you are serious about writing for kids, membership in this organization is one of the most important steps you can take.

Among its resources, SCBWI has compiled The Book: Essential Guide to Publishing for Children. It details how to prepare and submit your work. The Market Survey section gives a current snapshot of the market (although change is continual). I like the section "Edited by..." with information that can help pair your book with a receptive editor. 

8. Querytracker

Querytracker is a database of agents and editors, and a channel used by many of them to recieve submissions. The standard membership is free; a premium membership has more to offer, but comes with a cost. (I've browsed the database for information, but I haven't used it for submissions.)

9. Author Acknowledgments

For novelists, you may discover agent and editor names for your favorite authors by checking out the acknowledgments in the back of their books. 

10. The PW Children's Bookshelf newsletter

This is my favorite way of tracking agent and editor preferences! Near the bottom of this twice-weekly newsletter is a list of current book deals. Each announcement includes the name of the author (and illustrator, if it's a picture book deal), the editor who bought the book, the book title, a brief description of the book, and the name of the agent(s) securing the deal. It takes some work, but I maintain a spreadsheet of this information that I can search when I have a new manuscript ready. Using Control + F brings up a search box where I can enter key words to find deals that have similarities to my work. (E.g. I search "rhyme" to discover editors that may be open to rhyming picture books.) Sign up for the Children's Bookshelf newsletter here.

These sources are my Top 10, but you'll undoubtedly find many more. If you have a favorite, please share it in the Comments below.

Happy writing, everyone! Good luck with those submissions!

Don't Miss This Manuscript Workshop! ~ by Patricia Toht

Children's writers, DON'T MISS THIS!

A Manuscript Workshop -

in Vermont -

in July -

Photo by Bill Toenjes

with brilliant writing coach Esther Hershenhorn!

Esther Hershenhorn

Esther is an author, a writing teacher, and blogger. She's a writing coach who helps authors achieve their dreams of turning manuscripts into books. I first met Esther when she was regional advisor of SCBWI-IL, and I can attest that she is one of the loveliest, talented, and most encouraging people in the kidlit world.

Recently, I sat down with Esther to ask her about the 2017 Vermont Manuscript Workshop that she will be leading. It will be held at the Landgrove Inn in Vermont on July 9-14.

Q: The Manuscript Workshop was founded by children's author Barbara Seuling. How did she impact your career as a writer, teacher, and coach?

Barbara Seuling

Esther: I am beyond honored to be continuing my mentor Barbara Seuling's venerable Manuscript Workshop, especially now that she is no longer with us. Simply put: Barbara's life as an author, editor, and teacher was pure Show, Don't Tell. She believed - in children's books, in children, and in each children's book writer's capacity to become. She held the bar high; children deserve only the best. "Only the best" was also what her readers and writers received - not only from her Manuscript Workshop but from her

best selling book, HOW TO WRITE A CHILDREN'S BOOK AND

GET IT PUBLISHED, both of which launched the careers of countless children's book creators. I feel so lucky to have known Barbara as a friend, to have learned from her as a writer, to have watched a true teacher at work. Last summer's attendees were lucky, too; her afternoon session was the icing on the cake. I'm already at work planning ways Barbara's affirming, caring spirit will continue to make itself known and breathe life into the Manuscript Workshop.

Q: Who do you feel will benefit most from this workshop - budding writers or more experienced ones?

Esther: The Manuscript Workshop is all about seeding and feeding children's book writers, giving each attendee what he or she needs (1) to grow his or her stories so they resound in readers' hearts and (2) to grow as a writer. There's the story the writer is telling, and there's the writer's story that the writer is living every day.

Attendees at last year's Manuscript Workshop

Writers need only: 
• a working manuscript on which to focus; 
• a want and a need to take that manuscript to the necessary Next Level, whatever that might be; and 
• a willingness to "only connect,' as P.L. Travers advised - with their world, their story, themselves.

All formats and genres for readers of all ages are welcomed!

Like Barbara, I do my best to make sure that any writer seeking the time, space, place, focus, insights, and care to make his or her story the best it can be will benefit from the Manuscript Workshop.

Q: How is leading this workshop different from coaching clients?

Tranquility in Vermont 

Esther: Barbara and I used to tease each other that we do things "the old-fashioned way - i.e. up close and personal," so when it comes to my coaching, the "care" mentioned in my answer above stands front and center. It's my job to not simply teach writers how to write for children, though I want my writers and students leaving with Major Writing Truths and Insights they can bring to each and every manuscript that follows; it's my job to make sure the writer continues to move forward on his/her plot line believing in his/her story and believing in himself/herself as the perfect person to tell that story. Think: teacher, facilitator, resource, cheerleader, travel guide, colleague and Jewish Mother. I'm happy to say that somehow all of those roles instinctively come into play when I teach a class, coach a writer, and/or facilitate a workshop.

Q: What is your favorite part of this workshop?

Esther: Last summer was my first time visiting Vermont's Green Mountains and the outstanding (and historic) Landgrove Inn that offered award-winning cuisine three times a day! 

Vermont's Green Mountains
Photo by Compass Points Media

My writers and I loved how GREEN everything was, the BLUE of the skies, the quiet of the day, except for the spirit-lifting bird songs. They were free to live inside their stories, free from everyday responsibilities, to go deep and true, yet free to share them with their fellow writers. Coming to know each writer - her connection to the story she was telling, her writer's journey, her wants/needs/wishes, and seeing the progress each made during the week, as always gladdened my heart. Seeing them come together throughout the week, however, to help one another - even now, seven months later as an online writers' group named The Vermonters - took my coaching to a Team Level that would have made Barbara Seuling happy. Like Roald Dahl's Matilda, when she discover the book in the library for the very first time, each writer realized she was not alone.

As I said earlier, if you are a writer, DON'T MISS THIS!

For more information about this year's Manuscript Workshop, or to discover more about Esther's work with students and writers, visit Esther's website HERE and HERE.

Please note that Tom Checchia is offering a 10% room discount at the Landgrove Inn for writers who register by Feb. 28th! Connect with the Landgrove Inn HERE.

Read Esther's blog about last year's Manuscript Workshop in Esther's blog post "Making Magic in Vermont."

Esther also reflects on the passing of the wonderful Barbara Seuling in "Barbara as Mentor" HERE.