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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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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Shaun held the framed photo of his grandfather and traced the image with his finger.
“He was such a great man.”
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The clock read fifteen minutes to midnight on New Year’s Eve, and the party had descended into arguments instead of winding up for the big calendar change.
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Today was her birthday, but her closest friends were busy, so Nicole took herself out to dinner. The Purple Potted Plant was her favorite restaurant for special occasions, and this year qualified as one: her fortieth.
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The post promised an autumnal birding phenomenon not to be missed. Steph wasn’t really a birder—she could never tell one sparrow from another—but she did like birds.
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INTO THE MOONLESS NIGHT
Catch Starthorne has spent a lifetime running from the prophecy that names him as the one who will save the shifter race, but now that he has returned to his home in Clawcrags, he may have to face his destiny.
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ONCE AROUND THE SUN: Sweet, Funny, and Stranges Tales for All Seasons
Stories about winter, spring, summer and fall, and seasons of life, seasons of love, and even seasons of discovery.
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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.