April 18, 2019 § 10 Comments
Many of us have sat in the classic writing workshop: the class reads a piece, a discussion happens, the writer keeps their head down and doesn’t talk. At the end of the conversation, the author might get to ask a couple of questions for clarification, or perhaps say something about their intention in writing the piece.
This can be useful—it’s good for writers to learn to listen to critique without defending against it, or pushing back with “what I meant to say was…” because if it’s not on the page, we didn’t say it. It can also be traumatic, especially if the class misinterprets a point in the story and spends the whole time arguing about a meaning that doesn’t matter.
In playwriting, authors often have help. The “dramaturg” is a writing coach/researcher/helper/challenger who assists the playwright. In post-performance discussions, or after rewrites in rehearsal, the dramaturg often leads the discussion, making sure the author’s concerns are addressed. The dramaturg asks follow-up questions, gets audience members and actors to clarify points, redirects the discussion if “how you should write this” starts bubbling up, and afterward, helps the writer process and apply the feedback that’s most helpful to their work.
Writing teachers do some of the same work leading workshop, but often, their job is focused on keeping the workshop moving as a whole, rather than being an individual writer’s advocate. Sometimes, workshops go off the rails or turn into a pile-on, leaving the writer bruised and defensive, or questioning their writing ability rather than the impact of a specific essay. Without an active mediator, it’s hard to truly receive feedback and weed out what’s helpful from what was a tangent in the discussion.
Perhaps it’s time—way past time—to rethink how we workshop. To make it less a test of endurance and more a space of open discussion. Perhaps it’s time to undo the silence of workshop, to let students be part of conversations about their work rather than mere witnesses.
When she began teaching nonfiction, she discovered a key issue. The space of discussing memoir and essay is even harder, because in critiquing the work, there is always some element of talking about the author. Nguyen points out that with cultural and racial context missing between writers and readers, this can be a terrible experience for the author, particularly for underrepresented students.
I was also tired of workshop spending so much time talking about a plot point or logistical matter that could easily be cleared up by simply asking the writer what was intended. So one day I did just that: started asking the writer what they meant. And the entire workshop shifted. The mood lifted. The writer and the rest of the workshop could talk about intention—what carried through and what didn’t. The writer could engage in process during workshop.
When we unsilence workshop, when we invite students to participate in the discussion of their own work, everything changes: the writer is no longer passively accepting comments. Rather, they become who they should be: the creators and navigators of their own work.
The workshoppers, in turn, are asked to do less prescribing (I want to see more of this; I want this or that to happen; I didn’t want that character to be here) and more questioning. Why did you use first-person? How important is the sister character supposed to be? Instead of a typical old-school workshop comment such as “I want to see more about the mother,” there’s a question: “We don’t see much about the mother—how important of a character is she?” The former is a demand; the latter is an opening.
When the writer gets to talk about what they’re trying to do, they discover something more about what they actually are doing. Almost always, they reveal information that they’d been holding back. In other words, their talking within workshop, rather than at the end of it, helped them process their own process.
In her classes, Nguyen further incorporated the writers’ agency (and the role of the dramaturg) by encouraging students to set the tone of the discussion they wanted to have. Her writers submitted their work for discussion with an added statement of what they hoped to cover, including areas in their work of particular concern in this draft. And,
On workshop day, the writer who was “up” began discussion by talking about how they wrote the story. Where ideas came from, why they wrote it, what they were trying to do. They got to set the stage for their own workshop.
Nguyen writes about how this method sometimes blends with classic “author-doesn’t-talk” workshop style, and what benefits she’s seen in her students work, and her own, from opening up the discussion to include the author. Many of us seeing frustration in our students—and ourselves—can benefit from talking more in workshop.
Read Beth Nguyen’s whole essay at LitHub.
Allison K Williams is Brevity‘s Social Media Editor.
February 24, 2015 § 32 Comments
It’s easy to read a memoir or essay and feel as though we know the author, even though all we really know is what the writer shared with us on the page. This false sense of familiarity is one thing when we read published work by authors we may never meet. But in a creative nonfiction workshop, this faux intimacy becomes a slippery slope.
We all know that writing workshop can be an emotionally charged environment to begin with. Add in stories of personal trauma, and you’ve got a veritable Slip‘N Slide of intense moments and awkward interactions just waiting for you to lose your footing.
How can you keep your balance and avoid any more uncomfortable moments than necessary?
Make this your mantra:
Writing workshop is not group therapy.
(Say it with me.)
(And if it helps, you can sing it to the beat of MC Lars’ “Hot Topic is Not Punk Rock.”)
Don’t let a writing workshop turn into something it’s not meant to be. Here are some tips on how to stay grounded.
1) No problem solving—unless it relates to writing. Remember that you are in workshop to discuss the craft of writing and the world on the page. You aren’t there to coach a writer on how to heal from a traumatic childhood, a dance with addiction, or a spiritual crisis. You are not in workshop to help anyone slay their personal demons, unless those demons deal with writing better scenes, understanding narrative arc, or improving sentence rhythm.
2) Kindness is good. Empathy is dangerous. Pity is bad. I get it: You are a decent human being. You care about other people. By all means, be kind. After all, you are talking about someone’s real life, so don’t be crass or insensitive about his or her experiences. But don’t go overboard. Empathy might sound like a good trait, but it’s dangerous in a workshop. It can tempt you to identify too much with the narrator and her experiences, which can derail a workshop discussion and send it skidding out of control, devolving into a well-intentioned (but ultimately unhelpful) chorus of “me too.” A few steps beyond empathy is sympathy, and beyond that is the minefield of pity. Don’t go there. The events on the page may be uncomfortable or even horrific, but workshop is not the place for sentiments such as “You poor thing” or “I’m sorry this happened to you.”
3) Question the right things. When dealing with creative nonfiction, you can question the author’s craft choices, but not her life choices. Feel free to point out muddy writing, confusing inconsistencies, clichés, awkward passages, and boring descriptions. Go ahead and question anything that doesn’t feel believable on the page, but limit your comments about believability to the work itself. People do weird and unbelievable things in real life all the time. Your only concern is how those actions are presented in the story at hand.
4) Depersonalize the discussion. Although the narrator is a facet of the writer herself, the two are not wholly one and the same in creative nonfiction. Treat the narrator like a character. When you’re talking about the “I” of the essay, use terms such as “the narrator” or “the persona,” and use third-person pronouns. Try not to say things like, “The pacing is too slow in the scene where your mother leaves you.” Instead, say, “The pacing is too slow in the scene where the mother leaves the narrator.” This might feel strange and contrived at first, but you’d never conflate a fictional protagonist with the writer of a short story or novel, even if you suspect (or know) that the story is drawn from the writer’s own life. Depersonalizing the language helps to keep the discussion focused on the craft.
5) No comments about bravery, please. If someone chooses to write about a personal event and share it in a workshop, she doesn’t need you to tell her how brave she is—either for surviving the event or for sharing the story. You’re not in workshop to comment on the writer’s courage; you’re there to give feedback on her work. As a creative nonfiction writer, I never feel more squeamish or vulnerable as when someone encounters my work and tells me how “brave” I am. I don’t write to be brave. I write to create art. I’d much rather hear: “I’ve never thought about it that way, and you wrote it magnificently!”
6) What happens in workshop…(say it with me)…stays in workshop. Don’t overstep personal boundaries outside of workshop. Unless you are already friends with someone or she initiates the conversation, don’t assume that you and the writer you just workshopped are now BFFs who can talk about her dark and twisty past. It’s creepy to assume this kind of familiarity.
7) If you’re the workshop facilitator, set the ground rules and stay focused. As the workshop leader, it’s your job to set the tone and direction of the workshop. People will be people, of course, and even the most conscientious participant may veer off into therapy territory. If this happens, gently but firmly course-correct your ship. Be a captain, not a therapist.
The act of writing may be a form of therapy. And a bad workshop might make you feel like you need therapy. But remember: You gotta keep ‘em separated.
Jennifer (Jenna) McGuiggan writes, edits, and teaches from southwestern Pennsylvania. She is writing a book about losing her religion. She is not currently in therapy. Visit her online in The Word Cellar. She tweets @thewordcellar.