A lot of it is already a blur that first night, what with meeting friends, enjoying a first swing through the dealer and art rooms, and dinner in the bar. My first panel was on “What they didn’t know then we know now,” or what predictions science fiction writers failed to make. Interesting discussion, and I discovered there were two people in the audience who had read the same obscure Ann McCaffrey anthology as I had (Get Off The Unicorn, if you are interested). The panel went into Heinlein a lot. We could have gone all night; well, other people could have gone all night. I was in bed by midnight.

Up early the next morning for the writers workshop. Everyone gave and received excellent feedback on their stories. I think the workshoppers got a lot out of it.

From left, Elze Hamilton, Raymon Daniel, Kyle White, Laurie May, Amy Thorp, Lee Lackey

The other writing panel I was on, Writers Boot Camp, or No Excuses! Panel, was also a blast. We talked about how to make room for writing in your life by making it a priority, not an afterthought. A lot of it is time management as well as managing the expectations of the people around you, who may not understand how important your work is. Good stuff for everyone to think about.

Rosemary Clement Moore, Katherine Eliska Kimbriel, Michael Bracken, Patrice Sarath, Rhonda Eudaly

I was on the Civil Rights panel as well, but these never get as in-depth as they should and I can’t help but feel we’re asking (and answering) the wrong questions.

Plenty of fun at the masquerade, lots of excellent parties as well. I got to catch up with Kimberly Frost, my partner in Robert Earl Keen appreciation (and an all around fun person and talented writer), and it was over all too quickly.

By the way, driving home there was a massive traffic jam on 290, but I managed to make a U-turn and go out 21 through Bastrop and thence home. Wow, that was a pretty drive. Even though it takes me out of my way, I may go that way all the time. It’s a lovely drive, through tree-lined streets that hardly feel like Texas at all.

Not all groups work for all writers.

Every writer has to learn this. Some groups work for a while, some are the right — or wrong — combination of members, some groups are cliquish or have quirky rules, or there’s a hierarchy…

 For the record, the Slug Tribe was none of those things for me.

 This is what a critique group should do:

Critique groups should be effective. A long time ago I was in RMCrit, an online critique group that gathered out of the Rumor Mill, the long-lamented online community around Speculations. This group rocked. I sold three stories to major markets after critiquing through this group, one of which went on to be reprinted in Year’s Best Fantasy 3.

Critique groups should be professional. RMCRit disbanded in part because of one person who chose to make personal criticisms that were more about the writer than the work. Her lack of professionalism was a driving factor in the increasing discomfort in the group. Emotions run high in groups, so the more professional the better.

This is not to say that critique groups should be soft or gentle. So rule three is, in order to be a good critique group member, grow a thick skin. You will thank yourself later.

Critique groups should have the right mix of writers. Some groups, like Turkey City in Austin, are for writers who already have publishing credits and the critiquing is corresponding tough. The talent brought together at a Turkey City session is pretty amazing. I went to one. I probably will not go again.

That was not the right group for me.

Beginning groups are a good place to start, but be aware that if everyone is a beginner, the feedback is going to be all over the place. People may not be able to articulate why they like something or don’t like it. Persevere. If the group is working toward a common goal — getting better, getting published — you will get something out of the experience. As you become better writers, you become better critiquers, and everyone grows through the experience.

So what if you join a group and it isn’t right, or things change and the group becomes wrong for you? It’s time to move on. If your writing isn’t getting better, or you aren’t selling, the group is no longer a positive for you.

Not all groups work for all writers.