Tips for Giving Feedback in Nonfiction Writing Groups
June 22, 2020 § 18 Comments
By Sue Hann
- Respect each other’s privacy. Although someone might be writing about very personal things, this does not mean that you have free rein to ask all about their lives.
‘So spill!’ Faye says to me, seconds after we are introduced. ‘What’s the dirt you’re writing about? I’m going to find it all out anyway, that’s what we’re here for right?’ She laughs at her own joke.
‘Oh, I’m writing about the body,’ I say vaguely, taking a step back, hoping that will suffice. Shouldn’t we at least start off with the weather and how bad the transport links are in this part of town?
- Engage with the text on its own terms, don’t try to suggest how you would have written the piece.
‘I would have written this as a poem,’ Faye says at the first feedback group, flicking through my manuscript of two thousand carefully chosen words, describing the ache of an early miscarriage. I look around the group, hoping someone else will chip in and break her flow. The others look down, unwilling to interrupt Faye. We are all playing at being polite.
‘Yeah, I definitely thought you could have turned that into a poem,’ she nods, agreeing with herself, ‘Cut that right down’.
- Don’t forget that your role is to encourage the writer to write their own story.
‘Hmm,’ she continues, ‘And I’m just not sure if this is universal. Not everyone wants to be a mother?’ Her voice rises in upward inflection. ‘Like, what does this say to men? Or to LGBTQI+?’
I try my best to remain neutral in my face, though my bones are murderous.
‘It’s meant to be a memoir,’ I don’t say. I remain silent. I am following the rules of How to Receive Feedback.
- Pay attention to what is written and what is not. Subtext is important.
‘And this stars thing’ she says, ‘Well, it’s just a bit of a cliche really, isn’t it? Looking at the stars and thinking about your loss?’
Kris is meant to be chairing today, but he says nothing. Slumped on his chair, his face is expressionless, and I have no idea if he is even in the room. Faye is enjoying holding the floor, now that she has her teeth sunk in deep, the taste of blood has invigorated her. The subtext is clear: Faye does not like me. Her feedback is the gun under the table, the knife in the back, the torpedo in the water.
- Remember to point out the parts you like, as well as the parts you think need more work.
‘Yeah, and on that note, I just didn’t think that the grief was portrayed that accurately’.
‘I mean, I thought the emotions weren’t really what you’d expect’.
Apparently, even my own feelings are failing her test. I scan the room, wondering, hoping that someone else might have a different or even constructive opinion.
‘I thought it was incredibly moving actually,’ said Mark. ‘And I’m a man,’ he adds, softening the parry with a smile, as he pushes his trendy glasses up his nose.
- The key to giving constructive feedback is empathy.
Bouyed up by Mark, and taking hold of the gap he created in Faye’s monologue, I try to wrestle the discussion back from Faye: ‘I’d really like to hear some specific feedback on the structure. Did it work for people?’
‘Mmm,’ says Kris, finally coming to life. ‘It’s got to have an arc. It’s got to have some movement’ he says, scrunching his nose, lips dragging downward. ‘We already know that you can’t have kids, from this early chapter, so that’s not much of an arc…’
Wait, did he really just say that? My mind is behind, still emerging from its protective coma brought on by Faye’s kicking.
Kris steeples his hands in front of his face, while looking at the ceiling.
‘Maybe the movement is whether you and your husband stay together?’ he says as if it’s the plot of the BBC soap opera EastEnders that he is talking about, and not my marriage.
The circle of heads turn to look at me. One of them glances at my ring finger.
- Try to end the feedback group on a positive note.
The session ends at last, a merciful release. Faye stands and stretches. ‘That was really fun! I enjoyed that! I can’t wait to submit next week,’ she says. I gather up my things, mumble my thanks to the group for their feedback, while simultaneously thinking that I can’t imagine ever writing another word again. Almost touching my shoulder, hand hovering mid-air, she stage-whispers into my ear ‘Just make it universal, yeah?’
Sue Hann’s fiction and non-fiction has been published in Popshot Quarterly, as well as online journals including Ellipsis Zine and Litro. She lives in London with her partner and a problematic number of books.