Creative Writing - Peer Group Critiquing

Offering and receiving constructive criticism can be an art it itself. The writer who takes immediate offence or the reader whose only comment is ‘I don’t like this sort of stuff anyway!’ have both missed the point. The benefits of learning to make the best of the exercise extend far beyond the workshop itself and establishing a feedback routine makes the exercise more effective.

Class Work

In a 'read-round', the group read their responses to class exercises in turn. The work is not expected to be polished so it is more a sharing of ideas and results. However, it can help to identify strengths, weaknesses or recurring features in the writing and enable an exercise to develop into something more substantial.

The nature of the read-round means that each writer reads their work aloud – clear reading at a steady pace without interruptions will help the concentration needed to form an impression from listening alone. A second reading of short pieces can be useful.

Workshopping

‘Workshopping’ usually refers to the group discussion of a more developed piece of work with the purpose of helping the writer refine it. A group of five to ten is the ideal number to allow for varying opinions and a manageable amount of reading and discussion.

The work on the page has to stand alone, interpreted only by the reader’s imagination, so it is better if the author does not read the piece aloud. If possible, distribute copies at one meeting to be read in time for the next one. Otherwise, time set aside during the meeting for reading is important.

Agreeing a process

Deciding on a routine for feedback workshops saves a lot of time. For example, it could be agreed that typos and presentation errors are only addressed through notes made on the manuscript and signed with the reader’s name then returned to the writer.

Consider that if anyone has anything to say that they are not willing to put their name to, it may be better if they keep it to themselves.

A Step-by-Step Approach

1. Each writer being critiqued provides a sufficient number of good quality copies of their work within a set word limit.
2. The readers read each piece twice, the second time to clarify their first impression and make notes of how, when, where and so on certain aspects of the material made an impact.
3. Feedback is given by each reader in turn, without interruption. The reader keeps to the point, is succinct and makes no personal comments or value judgements about the worthiness of the genre, style or subject matter chosen.
4. The feedback concentrates on the writing, starting with the positive and then going on to point out any areas which seem confusing or unclear. Criticism should be constructive, aiming to help the writer refine the work. Pointing out the good points as well as the weaknesses is equally important.
5. Make questions rhetorical and don’t ask, 'How’s it all going to end then?' The workshop is not the time or place for long explanations from the writer or detailed discussions about how a plot-line could develop.

Making Constructive Criticism Work

In a large or very lively group, allowing each critique just a few minutes can keep the focus and leave time for a general discussion at the end to round off the session.

No-one should be overwhelmed with more reading or writing than they can cope with and everyone should know that all material receives equal attention and respect from the group.

When this week’s reader is next week’s writer, an understanding of the processes involved should help in making peer-review a useful exercise in moving the work towards a final draft.

Organising groupwork is important.

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