Many writers, at some point in their careers, get their writing “workshopped” – either in classes they take as part of a formal MFA program, or in writers’ conferences lasting a week or two. It’s a valuable step in learning how readers approach your work cold, and in finding out how it could be improved. Generally with about 10-15 participants, the session is led by an instructor, usually a published author, who keeps the discussion flowing and offers insights of her own.
And it can be tough. Other than a few episodes of Lena Dunham’s Girls, in which Hannah was (briefly) enrolled in the famous Iowa Writers Workshop, there’s no known model of behavior. It’s not a classroom, which is led by a teacher who asks students to demonstrate mastery of knowledge. Sometimes participants just don’t know how to act.
The best workshop sessions concentrate on the material at hand and the writer’s goals for it. It’s not a place to discuss personal life experiences or preferences. Yet oftentimes discussions get derailed by folks who don’t know any better.
Here are some do’s and don’ts to keep the conversation flowing in a productive way:
If you’re a participant:
Do be widely read. The subtext of the workshop is comparing and contrasting the work-in-progress to traditionally published, known works. If you’re not up to speed with classics as well as the latest best-sellers, you won’t be able to cite specific books to back up your observations.
Don’t use real-life examples to complain about fictional character’s behavior. Having a friend who had cancer or being a parent does not mean your background is a more valid experience than the character’s. If a character acts in a certain way or has a specific incident that does not seem believable, the issue is in the set-up. Concentrate on what is or isn’t in the text, not what happened to you in your life. (Note: This does not necessary apply if the writer is writing about gender or racial issues that do not personally impact him.)
Do be considerate of other participants. If someone is having a tough time getting a word in, say their name and invite them to speak. If someone makes a worthwhile comment, agree with them and repeat it. If you disagree with them, acknowledge their point and be respectful while you articulate your point of view. Sometimes a few loud voices can dominate a discussion… don’t let that happen.
Don’t raise your hand. No one’s waiting to be called on. Don’t talk over the instructor or have side conversations while someone’s trying to make a point. The room is smaller than you think, and you’re louder.
Do be aware of gender and racial dynamics. It’s not appropriate to refer to a female character as mentally ill or promiscuous because she has lovers. Trust the experiences of minority writers. Judging characters is not helpful.
If you’re the writer:
Do keep “the gag” on. Most instructors ask that the writer being discussed not speak until called on. Listen actively as participants debate details in your work. If they have questions, it’s not up to you to answer them. It’s up to you to realize that your writing wasn’t clear.
Don’t defend your writing. After the gag is lifted, it’s tempting to explain exactly what the participants missed or how great your characters really are. Don’t do it.
Don’t be petty and vow to “get” participants who were particularly hard on your work. It’s not a zero-sum game, and their work isn’t bad because they didn’t like yours.
Do take some time before going over the other participants’ comments. If there’s time for you to take a few days, then read their written suggestions, it will help you create the necessary distance to evaluate your work.
Do take note of which observations are made by more than one participant. If there’s agreement on a point, pay careful attention to it.
And don’t forget to thank and be grateful to everyone involved. Reading the work of 10-15 other writers, taking notes, taking the time to participate in workshop… this is a huge undertaking. Most of the workshop will consist of talking about other people’s writing, not their own. It’s a lot of work!
But it’s well worth it. The most committed writers participate in workshops, and many times the practice of evaluating others’ work leads to breakthroughs in one’s own. If you haven’t done one yet, find a conference and make workshopping a goal for 2018.
