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Workshop Rules

This document outlines the guidelines for a creative writing workshop course. It provides instructions for students participating in the workshop as respondents, readers, and writers. Respondents will submit a one-page typed response for each writer. All other students will write comments directly on the submitted works and include an additional page of interpretive comments. The guidelines describe the logistics of submitting and providing feedback on works. It also provides guidance on the focus of workshops, including commenting on specific elements of the works and being respectful and constructive.

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Joseph Labadini
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49 views

Workshop Rules

This document outlines the guidelines for a creative writing workshop course. It provides instructions for students participating in the workshop as respondents, readers, and writers. Respondents will submit a one-page typed response for each writer. All other students will write comments directly on the submitted works and include an additional page of interpretive comments. The guidelines describe the logistics of submitting and providing feedback on works. It also provides guidance on the focus of workshops, including commenting on specific elements of the works and being respectful and constructive.

Uploaded by

Joseph Labadini
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as DOC, PDF, TXT or read online on Scribd
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Creative Writing: Workshop Guidelines

Dr. Filas
[email protected]

The assigned respondents will type a one-page response, single-spaced, for each workshop contributor and
bring two copies, one for the writer, one for me. Approximately 500 words—include word count with
name, date, prof. name, and class name at top of page. Please staple my copies together for all writers you
have critiques for that day. I grade them together. Comments relating to textual particulars such as spelling,
grammar, minute observations can be written in the margins of the text and then the copies are returned to
the writer. Your legible name is required on the annotated draft story.

All others will write comments directly on the papers, including a full page of interpretive comments on the
back of each text (submission). These will be returned to the writer after discussion.

Write all comments in second person voice, in the form of a letter, i.e. “Michael, I really enjoyed your story
and I think it is about the suffering of the protagonist, Monte, despite the veneer of happiness in his daily
life. ….etc etc. Sincerely, Bill Jones”

The logistics of workshopping:


 The writers assigned to workshop their creative material bring in stapled copies (one for each
member) of the work on the due date. If the material is not a complete unit provide a synopsis of
the critical action or character development that has come before the section we are workshopping.
 Every member of class takes the material home and:
o marks the pages with marginal comments.
o writes a response on the backs of the page of the work (or a fresh sheet) and returns the
material, with comments, to the writer at the end of the workshop session.
 Designated respondents:
o mark the pages with marginal comments.
o type a response to be read to the class during workshop.

The foci of workshopping:


 Workshopping is a constructive process in which you have open conversations about the creative
process and product of one individual at a time.
 Save comments and corrections to spelling and minor layout things for the written marginalia.
 In all workshop comments your critique is most useful when you relate it to specific quotes
and sections of the text. Quote generously.
 Pay notice to the language in the text. For poetry read for rhythms/meter and rhyme, including
irregular rhyme such as alliteration, assonance and consonance. Rhythm can also be achieved with
repetition of phrases or words. Discuss also line and form of the poem.
 Responses should address issues of content, form and interpretation.
 Elements of fiction such as narration, plot, character, dialog, detail, language, irony, etc. should be
discussed.
 Tell the writer what you see as the main purpose, impulse, theme, or meaning of their work.
Provide them, in your own words, a description of what the text is about, what lies at the
core.
 Provide feedback on originality. Which texts (writers, poems, novels, movies, tv shows, songs)
does the work remind you of?
 What makes the writing original?
 What is the most resounding human element or moment in the text?
 Did the text read with authenticity?
 What makes the work powerful, where is the hook? The tension, the imperative to keep reading?
 What is something successful about the text?
 What is something in the text that does not work for you?
 How did reading the work make you, personally, feel?
The writer being workshopped:
 Thick skin wins the day. Taking criticism is hard, and not all of it will be good, but the trick is to
practice patient listening and never allowing embarrassment or disagreement to stop you from
hearing the feedback.
 Don’t defend your work or explain yourself or your work to the group.
 Never argue with a workshop participant.
 Take what is useful to you and disregard the rest.
 Once a general workshop has completed, then you should ask questions and ask for clarification,
but still do not explain yourself.
 Don’t take it personally, but remember everyone is working to write as well as possible.

Everyone:
 Remember to be honest, respectful, and constructive while maintaining a high standard of careful
critique in the class.
 Remember that great writing comes from the depths of someone’s mind and heart, and the more
courage a writer shows to access their passions, the more powerful his or her writing will be. We
can critique in a sensitive way so as not to discourage the opening of powerful creative channels.

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