How to be a good writing workshop citizen

I just graduated with an MFA in creative writing, which means I’ve taken countless writing workshop classes. While I don’t claim to be an authoritative voice on writing, I’ve had enough experience to weigh in on the workshop experience.

First off, what is a workshop? Simply put, it’s a class where you receive feedback from your peers and the teacher about your writing. I’ve only taken workshops in an academic setting, but I imagine non-credit courses work the same. Each week a different student (or two or three) submit their work for critique. Prior to each class, every participant reads the work (twice, ideally) and writes notes on the manuscript and types up a critique, usually about a page, sometimes two. On class day, the student(s) getting critiqued reads a passage from their work, then the critique starts. You remain silent throughout the critique, then you’re allowed to speak at the end. The critique generally starts off with positive reviews, then delves into how to improve the work.

So, how do you become good at workshop? By being a good literary citizen.

If you’re critiquing:

Don’t dominate

My biggest pet peeve are students that don’t give others the chance to speak. There will naturally be some students that talk more in class and others that talk less. If you find yourself dominating the conversation, step back and allow others the opportunity to chime in.

Listen

Listen to the feedback that other students are offering. There are bound to be similarities in the critiques (I loved this character, the narrator’s voice is erratic, etc…) which is helpful to the writer. That said, really listen to what other students are saying and try not to repeat what has already been said too much. It’s not helpful to the writer if the conversation grows stagnant and repetitive.

Don’t interrupt

Workshop has a fluidity to it. It’s common for you to gain insight into a piece based on your classmate’s feedback. Sometimes a critiquer will get excited to come to a new realization that they didn’t address in their written critique. That’s great! But wait until someone else is finished talking before you interject.

Don’t hijack (without a good reason)

A hijack is when you offer a suggestion that will potentially completely alter the text. Unless it’s a truly remarkable idea, a hijack is generally not that useful to the writer. For example:

— You should change the structure.

— You should write from a different point of view.

— You shouldn’t have written about this subject.

Sometimes this type of advice is helpful, but it’s often not. Trust your gut instinct.

Spell your classmate’s name right

This one is just straight up rude. I was in a class with a guy and he spelled my name wrong on my critique. This might be a minor offense to some, but my name was on my manuscript. He sent a clear signal that I didn’t matter that much to him. It takes mere seconds to double check that you spelled someone’s name right.

Be present

There are plenty of reasons to miss class or be late (illness, car accident, etc..) but if you’re perpetually missing class or are late, it’s a sign of disrespect to your fellow classmates. It drove me nuts when a classmate missed several classes and worse, didn’t bother to send me a critique. I showed up for class, even when I was on chemo. If I could do it, you can do it.

If you’re being critiqued:

Keep an open mind

Let your guard down. You’re probably paying good money for this invaluable feedback on your work. I’ve seen people get defensive of their choices in workshop. Remember, you’re there to improve your writing. You probably won’t agree/find useful everything that was said in class, but be respectful of the time and care your fellow classmates put into their feedback.

Figure out what works

Many writers take copious notes while they’re in class. A fellow classmate had a different approach. Instead of taking notes, she just sat and listened. Her reasoning? She said the most valuable critiques would just stick with her. I’ve adopted her philosophy to my own note taking. I still jot down notes, but sometimes I just put the pen down and listen.

Don’t use all of it

When you’re ready to revise, don’t feel the need to use every single critique. You’re bound to get contradictory notes back, so use what feels most relevant to what you’re trying to achieve within the work.

Sit on it

I learned that I get the most from my critique notes when I’ve put the material down for a while and then go back to revise. For example, I had a story that I wrote in undergrad about marching in a Mardi Gras parade. I wasn’t able to really gain new insight into the piece until I put it away for a year. That said, sometimes the feedback just clicks and you know exactly what to do. That was the case for “Deliver These To Ricky.” I made some changes, submitted it to some lit mags, and boom. I got acceptance.

More tips from #WritingTwitter

In the spirit of workshop, I asked some fellow writers for their input. Here’s what they had to say.

SaraJacobelli: Be open to learning new ways of doing things and be willing to encourage others.

NSUFilmStudies: Being aware of how they sound/the way they say things. Ability to take harsh, well meaning criticism. Ability to recognize when someone is being a jerk and not get emotionally caught up in it.

JessL_Armstrong: I think being able to openly receive and give criticism is huge.

Nslhmr: This may be specific to cnf [creative nonfiction]: making sure to critique the writing, not the past actions or choices of the speaker. Assume the best of people.

Simple phrasing that keeps the autonomy in the writer’s hands, i.e. “the writer might play around with…” or “maybe consider…” vs. “the writer should…”

This takes some practice: learn to distill the group’s feedback to next steps congruent with your goals for the piece. You are not responsible for pleasing everyone. You are responsible to your craft.

Torybushisalive: Being aware that what you think is good writing isn’t always what someone else likes or wants in their own writing. Different styles and approaches are exciting, even if challenging at times.

Punchlinecopy: Pay attention to the feedback given to other writers and consider how it might apply to your work too!

ReneauGlow: For offering criticism: considering the difference and importance between what you, as an editor, want the piece to become and what the writer wants the piece to be.

AynW: Don’t be nit-picky unless the nits are actually affecting the piece in a negative way.