I regularly turn to my writing critique group to share my WIP and gain valuable feedback from fellow writers.
But I also find much value in my monthly book group—and not just because I love to read and then discuss what I’ve read. I marvel at how divergent opinions can be about a book. I’ve wondered at times: Are we talking about the same novel?
Sometimes—actually, rarely—the group coalesces in full delight about a book. More often, some love it, some find it so-so, and some are outright sorry they read beyond the first chapter.
Of course, sites like Goodreads offer ratings and reviews on books for people who don’t have or don’t want to be in a book discussion group. But sitting together with a glass of wine and a plate of snacks is my preferred way of finding out what others think about that new novel or latest work of nonfiction. (My group reads both.)
As a writer, I also see how my take on a book is often at least somewhat different from a nonwriter. I can get caught up in the craft—how do the sentences flow, why did the author use that story structure—and forget that most readers just want a good story. The structural elements are important; they are the solid framework upon which the good story is built. But many readers are willing to give a pass on less-than-perfect structure if they are compelled to keep turning the pages to find out what’s going to happen.
It’s often a reminder to me that as writers we can’t predict what will appeal or connect with readers. One example is Kate Atkinson’s A God in Ruins. While I thoroughly enjoyed the novel—the crisp narrative, the layered characters, the grim depiction of war—I was disappointed in the ending, which I thought was a cheap shot, the equivalent of a story in which the main character wakes up to realize it’s all been a dream. But one member of my group gave an alternative explanation. For her, the ending with its surprise reveal represented the awful price the soldiers paid: that they forfeited their future, of what might have been. I had to agree.
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Most of the seats at the DMV were filled when Charla arrived, license renewal form in hand, and she ended up taking an unoccupied plastic chair against the far wall. She had an hour and maybe a smidge more to get her new license before Sam started docking her pay for being late from her lunch break.
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This is your last chance, people, to find the perfect gift! My perfect gift would be a medical miracle for my dad. He’s been unconscious for two weeks, since the car wreck on I-80. The doctors say he should recover—if he wakes up. But he’s pushing eighty. It may not happen.
That would make a good card theme, right? A get-well wish made for people whose loved one is in a coma. May they snap out of it. Or, how about: Wake up, sleepy Jean. But that’s my dark humor bubbling up. Damn it, now my eyes are blurry.
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Thanksgiving was three days ago, and I’m still reeling at what I witnessed. My sister hosted, as she has for the last twenty years. That was the only thing predictable about the holiday, though. I was there, of course.
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At the chiming of eleven bells, the retreat’s evening session began. Squeezed around the table, six people scooted chairs until no one brushed up against anyone else. The room’s reddish glow came from a candelabra on a nearby shelf, and the air hung thick with cedar incense.
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A crab shell on the riverbank marked the end of day. No crab inside, just the empty carapace and claws, bright objects against the darker sandy grit along the water. Jyr laid thin branches of hemlock around the shell, then watched the river current flickering where the setting sun touched the ripples.
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As we often say among poets, once a poem leaves the poet, it becomes the reader’s poem. Each reader brings their own life experience, emotion and perspective to a narrative of any kind. I suppose the novel or story becomes an extension of the reader’s mind in that respect.
Neetu, yes, I agree. We bring what we know to the works we are reading. When a friend/another reader turns that prism slightly for us, we are able to glimpse a different point of view.