Starting a Book Group

By Vali Stone

I ask myself what my passion is.  Reading, of course!  When I pick up my book I handle it gently, remove the cover, open it to the first page and savor the sweetness and the anticipation of a new adventure.  When I read, there are certain paragraphs and pages that I contemplate, reflect and study, characters that I can’t shake and situations that I weigh or brood over.  There are some books that I can’t separate myself from, wishing I had someone to discuss them with.

Because of my love for books, I decided that sharing the gift that each book can bestow upon our intellectual, physical and spiritual self was important. Explains my co-worker, Jacqui Woods-Powell, “The book is a disseminator of social, cultural and political ideas; the text is a filter; the reading group is a modern day necessity.” I began a book group so that we could all share our experiences, opinions and expand our vision and understanding of humans and society.

So where does one begin?

Finding members

You can’t just stalk random people on the street and ask if they’re interested in joining a book group, but you can try some of these ideas to help you find members:

• Put the word out to friends and relatives and asked them to pass it on
• Speak to individuals from other groups you belong to
• Invite co-workers
• Advertise in your local bookstore
• Put an ad in local newspapers
• Put up notices in public places
• Check with local organizations such as churches, charitable groups, writers’ groups etc.
• Check with people connected to schools and use their bulletin boards

Screen your potential members.  Each one should be committed, enthusiastic, articulate and able to listen attentively.

Place and time

The majority of groups meet once a month during the week at either a private home on a rotation system, or outside a home in places such as bookstores, places of worship, libraries, schools and even restaurants.  Choose to hold your meetings where it is agreeable and convenient to most.

Food

Many groups chose to serve food or beverages at the meeting.  If you conduct the meeting in a private home, you can serve coffee and desert after the meeting is over, or a lunch or dinner.  Some groups chose a dinner theme according the book they are reading.  When one book group member, for example, held the group at her home the night they discussed The Kite Runner by Khaled Hosseini, each person brought their favourite Indian dish for a potluck.

Some groups meeting outside the home bring in coffee and cake. Others finish their discussion and meet afterwards for a social evening at a local coffee shop or – my personal favourite – at a pub.

Administration

Appoint an administrator, someone who is patient and organized.  The administrator’s duties might include organizing and keeping a member’s list; distributing the list of selected books to members; determining the meeting place, time, date and book for each month; ordering the books; perhaps collecting a fee each month to pay for the books; and keeping order at the meetings.

The discussion

We each bring a very different perspective to the text with a strong association with our own lives or someone close to us. In a group you work together and share as a team, combining all your areas of knowledge, experiences, expertise and strengths to become a much more informed and effective group.

Be respectful during a conversation.  All views are acceptable but the speaker must be responsible for the way in which they are expressed. If there are problems, the administrator may step in to guide the conversation in a more positive direction.

Keep in mind that group discussions are meant to allow members to explore human nature and meaning in life; examine human motivations and how others respond to external and internal situations; enhance the understanding of the book; and appreciate the art of writing. Through such discussions we expand our awareness of the world around us and hone our intellectual abilities.

Finding the right book

Look for books that are well written, educational and entertaining.  Mostly, choices may be a trial an error process.  Some book groups allow each member to choose one book. Others have an administrator that does the research and holds a group vote.

For variety, choose from different categories, including Pulitzer Prize winners, nonfiction historical works, foreign authors, biographies and autobiographies, short stories, classic or contemporary settings, novellas, poetry, prose, essays, plays and films.  You may also want to concentrate on a particular theme such as books about women, men, cultural perspectives, age perspectives, New Age, Love, and perhaps International or even Regional.

Discussion topics

Discussions in a book group usually revolve around:

• Characters and the story line
• The Characters’ actions
• Social Implications
• The author’s purpose
• Social Implications
• Symbolisms
• Member responses to the book
• Was there a resolution?
• Member personal reference to the book [Need to clarify this]
• Assessing the book’s literary merit
• Comparing the book to other readings
• The narrative (Who is telling the story and why?)
• The theme, point of view, style, setting, and time period

My passion for books has allowed me to feel a wonderful sense of freedom and to discover more about life and the answers that can come from a truly intellectual discussion.  Reading and sharing has taught me about how others live, think and feel and how they have discovered their own rich and fulfilling lives. I have also learned that certain emotions and reactions are ‘normal’, that we can challenge our belief system and stretch our limits of creativity and imagination. And this feels great!

Posted March 4th, 2009 in Resources

Writing for Children – Definitely not Child’s Play

By Marina Cohen

As the author of two middle-grade novels, Shadow of the Moon and Trick of the Light, I’m often invited to schools to do presentations.  Children are an enthusiastic audience – full of eager questions, such as, “When did you start writing?”  “Where do you get your ideas from?” or “Who’s your favourite author?”  Interestingly enough, the one question no young person has ever asked me is, “Why do you write for children?”  And yet, this seems to be the first thing most adults want to know.

I suppose the simple answer is:  I write for children because I enjoy it.  There’s a certain magic about slipping into a world, real or fantastic, and being able to see it from child’s point of view.

When I was little, my mother used to read to me from an old, battered book of fairy tales.  I never lost my fascination with these stories of enchantment and wonder and re-read them often.  The characters sprang to life and the plots didn’t always have neat, happy endings.  In fact, some ended quite tragically, like The Little Match Girl or sadly, like Swan Lake or bittersweet, like The Little Mermaid.  And though many of these tales dealt with difficult subject matter – poverty, abandonment, unrequited love, death-they dealt with it in such a fashion as to make the stories meaningful and accessible to young and old audiences alike.  It became my dream to one day write something as magical and as meaningful.

But a word of caution to those who believe writing for children is as simple as the texts often appear to be.  Make no mistake, young readers are savvy and keenly aware of what rings true and what doesn’t, what is fresh and what is cliché.  Especially at the middle-grade and young adult levels, readers don’t want a story that is overtly didactic, written for the sole purpose of teaching them that all-important life-lesson, or desperately sentimental – crammed with sugary characters and all too tidy endings.  In fact, some adults who haven’t picked up a children’s novel in some time might be downright shocked at just how edgy young adult novels are today.

So if you’re going to try your hand at writing fiction for children, here are a few basics you might want to consider.

First, ask yourself, “Who is my intended audience?”  Are you writing for pre-schoolers?  Beginner readers?  Middle-grades?  Young adults?  In each case there are readability requirements and length guidelines to adhere to in order for a publisher to consider your work.  Of course there are always exceptions, but bear in mind, exceptions can be a far more difficult sell.

Picture Books

These generally range from a few dozen words to 1,000, divided into 24 or 32 pages.  The single most difficult picture book to sell is a rhyming picture book.  For one thing, many simply don’t possess the skills of someone like Sheree Fitch.  Another reason is that publishers depend on their foreign sales to support their projects and rhyming picture books often don’t translate well, thus eliminating off the top 30% of a publisher’s projected profits.  Your best bet is a picture book in prose.  And certainly, at approximately 800 words, you need to make every single word count.

Check out: Please Louise! by  Frieda Wishinsky and Marie-Louise Gay, Grumpy Bird by Jeremy Tankard, Scaredy Squirrel by Mélanie Watt

Early Chapter Books

Early chapter books run between 6,000 and 10,000 words.  The readability of an early chapter book is of the utmost importance as you are writing for those eager young ones who are just able to enjoy your books independently for the first time.  Make sure you check the level with a tool, such as Flesch-Kincaid.  You can find this under “Tools” on your toolbar.

Check out: Canadian Flyer Adventures by Frieda Wishinsky,

Middle grade

An extremely wide range of novels fall into this category.  They are usually between 20,000 and 40,000 words.  These independent readers can be quite fickle, so remember, you’ve got one, maximum two pages to impress and hook your audience.  If they don’t like your first page, they will put down your novel and never look back.  Start with a bang – grab hold of your reader and don’t let go until the last line.

Check out: Awake and Dreaming by Kit Pearson, The Bone Collector’s Son by Paul Yee, The Third Eye by Mahtab Narsimhan, Acadian Star by Hélène Boudreau, The Bone Flute by Patricia Bow

Young Adult (Y/A)

These tend to be between 40,000 and 60,000 words.  Similar to middle-grade novels, you need a powerful beginning, depth of character, a rock-solid plot and fresh, realistic dialogue.  The major difference between middle-grade and Y/A is often subject matter and the way it is treated.  Y/A’s can include sex, violence and sometimes even quite disturbing subject matter.  Often the line between Young Adult and Adult is blurred – the major difference is in the treatment of the subject.  For example, sex in Y/A is acceptable, though it is treated with the utmost respect and is never gratuitous.  It must be intrinsic to the plot and reveal something important about your character.  The same goes for violence and coarse language.  Today, many adults are reading Y/A, thus turning these novels into what publishers refer to as “crossovers”.

Check out: Daughter of War by Marsha Skrypuch, In the Garage by Alma Fullerton, A Thief in the House of Memory by Tim Wynne-Jones, Alice, I think by Susan Juby.

General advice for writing for children

1. Decide which level you are writing for and then read 100 books intended for that same audience.
2. Join a critique group consisting of children’s writers.
3. Prior to submitting, research publishers well to see what types of books they publish – what level and what genres.
4. Write what you are passionate about – don’t try to follow a trend as you will inevitably miss it.
5. Revise.  Revise. Revise.  And when you’re done, revise some more.
6. Persevere!

For a fabulously in-depth look at writing for children, visit master children’s writer, Barbara Greenwood’s website at www.barbaragreenwood.com.

Marina Cohen has a Master’s Degree in French Literature from the University of Toronto.  She has been teaching in the York Region District School Board since 1995. For more information about Marina and her books, visit www.marinacohen.com.

Posted February 24th, 2009 in Resources

Start Your Own Writers Group

I recall reading a magazine story years ago about the challenges of working from home as a writer. One of the hidden dangers, the columnist noted, is the tendency to procrastinate. Taking time to eat a brownie, she said, is acceptable. Taking time to bake brownies from scratch … is not.

Did that rule apply to chocolate chip cookies too? I wondered.

Procrastination is just one of the hurdles faced by writers in their solitary vocation or avocation. (For some fabulous ways to waste time, read Diane Schoemperlen’s humorous novel about a blocked writer, At a Loss for Words. Oh, but what am I saying, you’re probably already an expert. Aren’t we all?) Writing offers up a wealth of opportunities for putting off what has to be done. After all, the lengthy and often anguish-inducing process – author Howard Engel compares it to “trying to roll a half-ton of raw liver uphill” – involves creative thinking and planning at one end, writing in the middle, and revising (experts estimate that revising takes more than twice as much time as the original writing) and proofreading at the other. But if you don’t want to struggle with all this in a vacuum, there is help.

Enter: the writers group.

No, it can’t hover over you like a fairy godmother waving a wand as you compose, but it can provide support in numerous other ways. Among the benefits offered by a successful group are structure, encouragement, motivation, inspiration, critical feedback on stories, networking opportunities, recommendations regarding such things as books, writing courses, literary contests, and, last but not least, a fun – it should be fun! – and guilt-free reason to get up from your desk once every few weeks. If there’s one great way to avoid procrastination (and hence the baking of brownies), it’s to feel accountable to people who are expecting to read your work at a specified time.

The easiest way to join a writers circle is to connect with one that’s established. Contact your local library to find out if there’s one already meeting in your area, or check out www.meetup.com (search by key word and your postal code). The Toronto Literary Calendar (www.themercurypress.ca/?q=word) also contains information on selected writers groups.

But perhaps there isn’t one nearby, or at least not one that addresses your particular writing needs. The solution? Start your own.

If you already know people who’d like to be involved, you’re more than halfway there. Perhaps they are friends or neighbours or co-workers, or individuals you met in a book club or writing workshop. When I was a teenager, my mother took part in a creative writing group that formed after meeting in an evening course at our nearby college. The group carried on, getting together once a month with much the same members, for several years. Participants in some of my memoir writing workshops have set up similar groups.

Don’t already know others interested in writing? Put the word out. Even if your friends and acquaintances aren’t writers, they may know others who are. Consider tacking up a notice at your local library, or bookstore, or café, or fitness club – anywhere people gather. Place an ad in your newspaper, or on www.craigslist.com. One of my workshop participants, a woman who spends the summers at her cottage on Georgian Bay, took out an ad in the newspaper there and with very little effort formed a group (of 9!) that met weekly over the summer.

Before searching for like-minded writers, ask yourself the following three questions:

How big do you want your group to be? Three to six is a good size to start. More than that can become overwhelming. After all, how many stories or chapters or poems do you feel you, and the others, can read and analyze between get-togethers? And how long do you want your meetings to last? (The more members, the longer the meetings.)

What is the group’s scope and what types of writing will you consider? Will yours be a support group, or a critique group, or a bit of both? Do you want to explore a range of writing formats/genres, or concentrate on one: short fiction, novels, poetry, memoir, science fiction, mystery … (If you’re a poet, will you get much out of meeting regularly with others who are hoping to master the short story?)

What level are your writing skills? If everyone in the circle isn’t at the same general level it can lead to frustration, both for those who may be more advanced and for those who are just getting their pens wet.

If you have advertised in some way to solicit members, curious individuals will contact you by e-mail or phone. When they do, ask a few questions about their writing background and why they want to join a group. You may want to request a short writing sample. Get a sense of whether they’re right for your group. Once you have the information you need, tell the candidate that you’ll get back to him or her when you have heard from enough people. Remember, it’s easier to screen people now than to eliminate them once the group is established.

When you’ve chosen your members, schedule a first gathering to discuss everyone’s expectations, including the following:

Where will you congregate? Many writers groups simply congregate at members’ homes, rotating so that each gets a chance to play host. Alternatively, because your group is not for profit, your local library or community centre or educational facility might allow you to use a room free of charge. Some writers groups meet regularly in a café or restaurant – but be forewarned, such venues offer many, many distractions.

How often and for how long will you meet? Keep your expectations reasonable; everyone needs enough time to produce some writing between meetings. Try getting together once every two to four weeks. For meetings, two hours is a good length, one that suits most people’s attentions spans – but this may vary depending on the number of members.

Will you assign a different facilitator for each meeting? Doing so gives everyone a chance to lead. The facilitator’s role is to keep the group focused and moving along pleasantly and efficiently so that meetings don’t go on … and on … and on …

What word count will you allow for each work? Set a limit on length of stories. It’s not fair if one person’s is 1,000 words and another’s 4,000. Stipulate that only one piece of writing per person will be critiqued per session. (There’s always some eager beaver who wants to do more!)

How will copies of stories be delivered to members for reading? Will writers bring them to the previous get-together for distribution? Or will they e-mail them, or leave hardcopies at a common point for pickup? Providing copies so that members can read stories – and make notes – ahead of time is more effective than expecting them to provide an off-the-cuff critique after seeing the story (or hearing it read) for the first time at a meeting.

What critique guidelines will you follow? Among other parameters, set a time (say, 5 minutes) for each member to comment on a story. It’s important for the person critiquing to be sensitive and to offer constructive (building up, rather than tearing down) criticism:

• Start by pointing out a positive about the writing. Tell the writer something you like before moving on to what could be improved.
• Be specific. Give examples to illustrate your points.
• Don’t get personal. A critique is not an attack on the writer; it’s an analysis of the writing.
• Keep your comments concise. Stick to the agreed-upon time limit.

As a writer, you should listen and take notes, and then respond, if   necessary, following all input, rather than to individual comments.

• Listen well and take notes.
• Don’t take comments personally.
• Answer questions if necessary, but don’t feel you need to defend your work. (Ultimately, it’s your decision whether to incorporate suggestions in your next draft.)

Will your group go beyond critiquing? Perhaps a member each week will suggest a writing exercise, or recommend a book for everyone to read and then discuss. You could agree to set a mutual goal, such as writing for the purpose of submitting to a literary contest, or producing a chapbook or more formal anthology of your group’s work. Consider inviting guest speakers if anyone in the group knows a writer or someone who works in publishing.

How will you handle members who consistently don’t pull their weight? You may discover that you have a member who consistently arrives late, or doesn’t show up at all, or who doesn’t write regularly, or who won’t follow the critique guidelines or other rules of order. As a group, agree on how you will handle such contingencies, including what constitutes conduct deserving of a member being “voted off.”

Always start meetings on time. Set aside 15 minutes or so at the beginning for chat, then get down to business. Provide beverages and simple snacks, but nothing that takes time or effort to serve, or that will tempt members to socialize and lose focus.

Communication among members is important. It may take some time for everyone to settle in and feel comfortable with the process. Be patient. If problems arise between members, try to work them out. Respect differences; diversity will enrich your group. Respect confidentiality; do not discuss writers’ ideas outside the group or show their stories to anyone without their permission.

To continue to meet the needs of members over time your group must be prepared to change and evolve. Be open to suggestions for improvement. Create a suggestion box, or, after a predetermined period (say, every six months), develop a survey through which members can indicate their level of satisfaction with aspects of the group. If a writer moves on, for reasons positive or negative, invite a new member agreed upon by the group. If the group grows, you may need to adapt, for example by considering the work of only half your members at each meeting.

Finally – and most important – take time to celebrate each and every one of your members’ writing accomplishments. Such encouragement is beyond value.

“Writing is a solitary occupation,” wrote American novelist and short story writer Jessamyn West. She went on to add that family, friends, and society are “the natural enemies of the writer,” who must be “alone, uninterrupted, and slightly savage” to succeed.

My guess is that she didn’t belong to a writers group.

I wonder how she felt about brownies.

Allyson Latta, Days Road Writers’ Workshops www.daysroadwriters.blogspot.com

Posted September 13th, 2008 in Resources