Comrades in words

On my blog, Flogging the Quill, I do critiques (frequently including line edits) of the opening 16 lines of novels submitted by writer/readers. I have reasons for doing it—platform-building, maybe getting some editing business—but mostly it’s fun to do, and rewarding to help other writers see shortcomings and strengths in their writing.

Best of all, perhaps, there’s a coterie of fellow floggers who tune in regularly and help out. They offer their fresh eyes in friendly ways, sometimes pointing out a nit I failed to pick, sometimes disagreeing with my “verdict” and giving good reasons why, and most often reinforcing and expanding on the weaknesses or strong points that I’ve noted. The writers who submit to the “Flogometer” get a free and thorough critique of the opening of their novels.

That’s the thing I like about so many of us writers. We’re not competing with each other. Quite the opposite; all you have to do is ask and writers will be only too happy to offer an opinion.

I’ve been blessed by critique groups, too.

My first critique group in Seattle was the sit-around-the-table type. There were usually six of us, and we each brought 10 pages (more or less) once a week. We’d pass out copies at the top of the meeting, read and make notes, and then go around the table, critiquing one writer’s efforts at a time. Writers collected the annotated samples as well.

Frequently a member would show up with nothing to critique, but came anyway to help with the evening’s work. Of course, you learn by critiquing, so there was a benefit. But they could have stayed home, just as readers on Flogging the Quill could skip adding a comment.

My second and third critique groups were via e-mail. The process was to send up to 20 pages once a month, and then annotated critiques would come back. These groups were smaller, four writers in each, but the same spirit guided us all. Using Word’s Track Changes and Comment features, the samples would return with corrections, notes, and suggestions, all intended to help.

I think, on the whole, that I preferred the in-person format. There was a nice social element, plus the opportunity for discussion of a point of craft or a particular element in a narrative.

Effects of comrades in words can go beyond the writing

My first critique group was, in fact, the stimulus that launched my editing work and litblog. After a year or so of weekly meetings, first one member and then another asked me to edit/critique their entire novels. I did then what I do now, and they loved what I did. That led me to hook up with an online editing service and edit novels and non-fiction through that for a while, and then I launched my own freelance service. As a marketing effort, I started Flogging the Quill, which is still going strong, and should lead to a book this year on writing craft.

All because of the contributions and input of writers who got together to boost each other up the ladder, each of us learning from what we received from the others, and each of us learning from what we gave.

For many lucky writers, the solo art of writing has a collaborative wing that informs, guides, supports and sometimes lifts them. I now count writers around the world, most of whom I’ve never met, as friends.

I salute you, my comrades in words, for your egalitarian natures and willingness to help.

For what it’s worth.

Photo by L-N-E.

Ray Rhamey

Ray Rhamey is the author of five novels and one writing craft book, Mastering the Craft of Compelling Storytelling. He’s also an editor of book-length fiction and designs book covers and interiors for Indie authors and small presses. His website, crrreative.com, offers an a la carte menu of creative services for writers and publishers. Learn more about Ray’s books at rayrhamey.com.

www.floggingthequill.com/