Instead of a traditional workshopping session, we spent the discussion portion of this meet-up analyzing self-selected published pieces of what each of us consider to be (nearly) flawless writing.
A River Runs Through It by Norman Maclean
Through careful use of language, symbolism, and imagery the author is able to assign multiple meanings to people and objects, such that when he talks about one thing, it evokes for the reader a deeper significance with multiple associations associations.
Thanh-Nu brought up the idea that every story is two stories, and when the narrative really works, those two stories collide and make magic at the intersection. Sometimes that second story comes entirely from the reader and has nothing to do with the author's intentions. In any case, this second story is often different from reader to reader. It's the individual reader's own perspective and perceptions that shape what they see as the secondary narrative and its meaning.
The Road by Cormac McCarthy
Economy of language is key to the author's ability to convey so much with very little description. This launched a discussion around the themes of show v. tell and the idea that less is more, especially in evoking horror in a reader (or viewer). Given a powerful suggestion, our imagination can spin more terror than any text or image might invoke. Jim posited idea of "writing as mind control," where a writer is carefully manipulating the reader to think and feel according to the writer's plan. We also talked about the pacing of McCarthy's storytelling, and how it not only allows you room to think and provide your own imaginings, but propels the story forward in tight, effective scenes.
Red Plenty by Frances Spufford
The use of language/word choice serves form and function, such that meaning is conveyed in a poetic way. Alliteration, repetition, rhythm, and motif create lyrical prose exploring--as Sabine put it--the tension between the ordained world and the natural one.
In and around these discussions of specific texts, we also hit on:
(See her notes below.)
We discussed the "sandwich" model of feedback, structuring your comments in a positive-negative-positive order, and how it is no longer a preferred model for giving input. Instead, just giving positive feedback, followed by the constructive criticism, is a better approach. Renée also highlighted the SBU, SAID, DRIVE, and CARE models, which are detailed in her notes. Similar to the ineffective nature of the sandwich, using the word "but" in a sentence renders everything before that word null and void. "And" is a much better word choice. In a group setting like workshopping, ensure the group has continuity in their feedback approach.
Tips for receiving feedback:
Tips for giving feedback:
Timing!
When giving or receiving feedback, ensure you have adequate time for the conversation. If you know you're going to be distracted or interrupted, reschedule. Ensure you're in the right mindset such that the exchange is productive. And when giving feedback, try to keep the input close to when the action or situation occurs.
A River Runs Through It by Norman Maclean
Through careful use of language, symbolism, and imagery the author is able to assign multiple meanings to people and objects, such that when he talks about one thing, it evokes for the reader a deeper significance with multiple associations associations.
Thanh-Nu brought up the idea that every story is two stories, and when the narrative really works, those two stories collide and make magic at the intersection. Sometimes that second story comes entirely from the reader and has nothing to do with the author's intentions. In any case, this second story is often different from reader to reader. It's the individual reader's own perspective and perceptions that shape what they see as the secondary narrative and its meaning.
The Road by Cormac McCarthy
Economy of language is key to the author's ability to convey so much with very little description. This launched a discussion around the themes of show v. tell and the idea that less is more, especially in evoking horror in a reader (or viewer). Given a powerful suggestion, our imagination can spin more terror than any text or image might invoke. Jim posited idea of "writing as mind control," where a writer is carefully manipulating the reader to think and feel according to the writer's plan. We also talked about the pacing of McCarthy's storytelling, and how it not only allows you room to think and provide your own imaginings, but propels the story forward in tight, effective scenes.
Red Plenty by Frances Spufford
The use of language/word choice serves form and function, such that meaning is conveyed in a poetic way. Alliteration, repetition, rhythm, and motif create lyrical prose exploring--as Sabine put it--the tension between the ordained world and the natural one.
In and around these discussions of specific texts, we also hit on:
- getting to the root of why we, the writer, are writing what we're writing? It's a crucial question, and often difficult to answer. This subject stemmed from the more specific question of why an author will traumatize a reader. Is it a power/ego trip, or is there value in this? What's the purpose?
- the difference between eliciting an organic response from a reader versus trying to write to that response (making a reader cry, for example, versus *trying* to make your reader cry)
- how, in nonfiction, it can take years and years to get to the truth of a moment or experience and be able to write it as it was, uncolored by anger or other strong emotions that might disrupt the authenticity and effectiveness of the writing.
Giving and Receiving Feedback
For the last portion of the meet-up, Renée led a discussion on giving and receiving feedback.(See her notes below.)
We discussed the "sandwich" model of feedback, structuring your comments in a positive-negative-positive order, and how it is no longer a preferred model for giving input. Instead, just giving positive feedback, followed by the constructive criticism, is a better approach. Renée also highlighted the SBU, SAID, DRIVE, and CARE models, which are detailed in her notes. Similar to the ineffective nature of the sandwich, using the word "but" in a sentence renders everything before that word null and void. "And" is a much better word choice. In a group setting like workshopping, ensure the group has continuity in their feedback approach.
Tips for receiving feedback:
- When you're ready, everything goes better. To mentally prepare yourself, consider all feedback—positive and negative—a gift, and thank the person giving it (no matter how hard it may be to hear what they have to say!).
- Whether they are sharing a criticism or a flattery, you're likely to be triggered by it. Have strategies for dealing with your response. Do you reply to stressful situations with a fight or flight response? Do you get angry and combative, or shut down and want to run away?
- To buy yourself time (usually 90 seconds is needed) to move through your triggered reaction, have a pen and paper ready to write down what the person is saying. This serves two purposes: it allows you to do something productive and appropriate to the situation while the panic passes, and you are also keeping a record of what is actually being said instead of what you expect to hear or think they are saying. Confirmation bias is a powerful thing; when you go back and review your notes, you may be surprised to find that the criticisms weren't nearly as bad as you felt they were in the moment!
- Another tool to buy time is to ask clarifying questions: Can you say more about/describe that? Can you give me an example?
Tips for giving feedback:
- Make clear that this is your perspective on the situation, not a judgement of the person. These are the facts as you, the giver, sees it, and focus on the impact you've observed and what you'd like to see done about it (possible fixes and actions).
- Don't attack the person, make broad generalizations, or imply that everyone holds the same opinion (unless you have verified this is so, and even then, tread lightly to avoid a sense of ganging up on the recipient).
- Don't be vague or unclear, or use judgemental language.
- Always go for frequent and thorough feedback versus infrequent and incomplete input.
- Focus on the behavior, not the individual.
- Report observations and stay specific.
- Put yourself in the other person's shoes.
Timing!
When giving or receiving feedback, ensure you have adequate time for the conversation. If you know you're going to be distracted or interrupted, reschedule. Ensure you're in the right mindset such that the exchange is productive. And when giving feedback, try to keep the input close to when the action or situation occurs.
