A while back, I wound up trapped in a conversation with one of those I’m Telling You This For Your Own Good people. The topic was critique groups, and the woman was basically a stranger.
I know you’re bracing for a horror story.
So, here it is.
Someone she knew stole her title.
I won’t tell you what the title is, but I will say that it churns up nearly a thousand results on Amazon, and it has that vaguely familiar feel to it. It’s one of those deep and meaningful titles you find on literary fiction and questionable poetry. It ain’t Snakes on a Plane.
I’m sure you’ve heard something like this, before. The general idea is that when you take your writing to a critique group, it’s in horrible danger of being stolen, and people lie, and flatter you, and really, how do you know they aren’t just saying what you want to hear to make you happy. Or, you know… ripping into you for shits and giggles.
On the other end of the spectrum is the guy who says you shouldn’t be afraid to give away all of your work. (Eventually.)
I’m somewhere in the middle. I don’t think the people who criticize my writing are doing it for their own amusement, and I believe that if someone says my work is good, they actually mean it. (Whether or not they’re objective is another thing.)
I post work on my blog from time to time, and even chunks of longer works. I blog my thoughts, and I’m choosing trust every time I push the publish button. I’m not sorry.
But I’m not good at trust, either. I password protect things. I keep my website–and sometimes my writing–a secret from my real-world acquaintances. I think about things like my rough draft being sold in Lebanon without so much as being told. I’m not the jump and trust the Universe to catch you type.
There’s that voice in the back of my mind that says things that are a lot like… I’m telling you this for your own good. And… This probably sucks, you know.
And there’s the real world stuff-the at what point is it published, and how much can I share before it turns the publishing industry off? A lot of that is fuzzy math, but I think I’ve stayed in the clear.
The other thing that occurs to me is that not every writers’ group has to be a deep and deadly serious critique group. I’ve gotten a lot out of groups that were mostly just social, and I’ve found critique partners there.
How far do you trust people with your work? Any hard limits? Any suggestions to avoid those critique group horror stories?
The Urban Spaceman
Shannon Noel Brady