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you don't like and keep the ones you do like. Opening your work to criticism is difficult. It's as if, upon showing your new baby to a stranger, he said, "The ears are too big, the lips are too small and it needs some hair." Listen to all the suggestions and then decide which, if any, best fit your story.

King believes writers should entertain all suggestions, giving themselves time to think over critiques before making any changes. "You think, 'Oh that's the worst suggestion I've ever heard.' And then in a week-it may still be the worst suggestion you ever heard-but it makes you think of another suggestion that is good ... so it really has been a valuable component because it forced you to look at that issue. Even though you rejected that [original] suggestion it was the bridge to the next one."

3. Develop a thick skin.
An acquaintance of mine enrolled in the same college novel workshop as I. Soon after the class began, she presented a novel prologue that included a rape scene. By the time fifteen people had commented on her "unsympathetic protagonist," who "was an idiot to answer the door," she excused herself to go cry.

"A bad critique can be devastating," says Donna Egbert, a writer who's participated in several critique groups over the years. "A bad critique group can ruin a career."

But only if you, the writer, let it.

King maintains that the "group has responsibility to be sensitive to new people." However, she also says that writers seeking critiques should want help and also respect the people in the group. Writers should feel comfortable with the group and at first, attend sessions without bringing manuscripts in order to see how members critique.

Although preferable, tact is not a requirement for critiquing manuscripts. Sometimes, a manuscript's problem can't be communicated in a "nice" way. Try not to construe comments as negative. If that doesn't work, remember that less than tactful comments are not a personal attack.

4. Don't explain.
Published authors don't go to readers and say, "But this is what I really meant in my book." Once a work is read by others, it's open to interpretation. Not everyone has the same perspective and will naturally interpret a work according to their life experience. It's not necessary for a critique group to understand your work's intentions. Unless asked a specific question, keep explanations to a minimum.

"A good critique group paces you against yourself, rather than against anyone else or some arbitrary standard," says Alexander.

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