Sentences with phrase «why critique groups»

That's why critique groups, professional mentors, independent editors, craft books, workshops, conferences and communities like WU are so important.

That's why critique groups are good practice.

Not exact matches

That prompted critiques concerning why, given the forecast that everyone had, they did not send the entire field off in groups of three off split tees early Saturday morning.

CS — Critique groups are great for so many things, but they don't get the big picture, which is why beta - reads can be so valuable.

For more on that, see my post on why to ignore advice from critique groups, but they can help you anyway.

For my tips on bad advice to ignore, check out my post on «Why You Should Ignore Advice from Your Critique Group».

This is why I tend to prefer a critique group to a beta reader, so you get more of a diversity of opinion.

But when you're part of a workshop or critique group, you must tell writers WHY something didn't grab you (without making them cry).

I wrote a post last month on Why You Should Ignore the Advice from Your Critique Group, and how to read between the lines of that kind of feedback.

Whether in person or online, workshops and critique groups push us to explain why we did or didn't like something.

Sometimes somebody in your critique group will say «why didn't you show her getting dressed?»

Yes, I also had read the earlier post about why we should ignore most of the advice of your critique group.

I wrote about why to ignore most of the advice from your critique group here on the blog in August of 2014.

This is why I recommend that all new writers join a critique group or find beta readers to exchange reads of new work.

For me, the perfect critique is one that makes me excited to revise, which is why I love my current critique group.

Yes, there's a great article on edittorrent (a blog run by two editors) about why agents / editors might not love what your critique group loves, and one of the reasons it mentions is this same issue.

In many cases with beta readers or critique groups, we can ask the reader why they gave a certain suggestion and uncover that underlying reason.)

You've encountered these before: why it's essential to get an agent, how to attract the agent, why you need to revise, revise, and revise again, how a writer's critique group can provide useful feedback, why it helps to share your manuscript with editing professionals (developmental editors for plot and style problems, line or copy editors for making the grammar and syntax road - worthy)... and all the rest.

It took my critique group pointing out errors and explaining them to get me a grasp of where I'd foundered and why.

If you're questioning why you need to have your manuscript professionally edited after going to the trouble of having it critiqued and worked on it meticulously and endlessly, the answer is simple: An author and a critique group are not a match for the expert eyes of a professional editor.

That's why I think it's important to first run a book through a critique group.

That's why working in a collaborative studio space is beneficial as is meeting regularly with artists for group critiques.