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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Born and raised in the Midwest, Dianna has also lived in three other quadrants of the U.S. She writes short stories and poetry, and has just released a full-length novel, Scream of the Silent Sun.
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“Did I tell you about the time Aunt Jen and I found a wooden box on the beach?” Molly pulled her jacket tighter against the chill that had descended along with the sunset. Her three kids sat around the fire with her, listening to the crackle of the flames as the night around them darkened.
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Lily pressed her flowered handkerchief to her forehead and wondered for the fifth time that day why she had signed up for the Festival of the Earth event.
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The accountant opened the folder and skimmed the stack of documents it contained. A W-2, 1099s, receipts, investment summaries, it was all there, Annie hoped. Matt always left it up to her to compile the papers needed before they sat down with Tom, their CPA. Her business was laden with supply orders, customer invoices, and back-end pay-outs. Matt worked in analytical statistics for a pharma company: salary, health insurance, 401(K), easy-peasy.
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The conversations murmuring around her provided white noise for Erica as she sat at her laptop in the busy coffeeshop. One more chapter to finish. Then a scrap of an exchange broke through her deep concentration.
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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.