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Workshopping! One of the banes of writers. We write a draft, and then we put it out there for people to see, baring our project and our thin-skinned artist’s ego to the world. And then we’re expected (or at least it’s polite) to review someone else’s piece in return.

It’s particularly on my mind right now because we’re finally to the point of workshopping in our novel-writing class now.

So for the next couple weeks, I’m going to do a series on workshopping. Today is a list of “dos and don’ts” for reviewers.

Do:

Express thoughts on both what’s working and not working in the piece. The writer needs to know what could use improvement, yes, but also talking about good things helps temper the feeling of criticism. Plus it’s often easier to keep doing things that are working in the piece than to get rid of bad things. I like to do a review sandwich: Talk about some good things, then move on to things that need improvement, and then finish up with more good things.
Be detailed. Rather than just saying, “This isn’t working,” explain what isn’t working and why. Is it a line of dialogue that seems clunky or out of character? A bit of prose that was awkwardly worded or confusing? Does a description seem to drag on? Details about what isn’t working (or what is) help the writer improve more than a simple “This is no good.”
Keep it about the writing. You’re here to critique the piece, not the person.
Keep calm. We writers can be a dramatic bunch, which probably comes of a) writing dramatic stuff and b) procrastinating online all the time, which can make us even more dramatic because we’re both freaking out about not having enough time to write (our fault for procrastinating) and we’ve been busy fangirling on Tumblr with other dramatic people. Plus we put a lot of work and revision into our writing. So some of us can get snippy during workshops, especially when you’re pointing out things you don’t like. If this happens, keep calm. The writer might act belligerent and argue against every one of your suggestions, but there’s always the possibility that your sensible demeanor and reminders that you’re just trying to help will calm them back down.

Don’t:

Be mean. It’s possible to tell the writer what could use improvement without being a jerk about it. Rather than “This sucks,” you can say something along the lines of, “I’m not sure this is working.” Then proceed to explain why it’s not working. (Refer to Do #2.)
Be vague. Simply telling someone “I hate it” or “I love it” is not helpful. I like praise as much as the next person, but I’d rather have a tough critic who gives me details about what’s not working and why than someone who loves the story but can’t do anything more than sing generic praises of it.
Make it about the writer. Even if the piece is politically charged and your opinions are radically different from the writer’s, leave the writer as a person out of it. Don’t assume anything about the writer based on the piece (even if your assumptions might be right). If need be, talk about the narrator (even of a poem or nonfiction piece) as if she is a separate entity from the writer. That makes it more likely that you can focus on the good and bad points of the writing, not the writer’s personality.

Keep an eye out for “Workshopping, Part 2: The Writer,” coming next week!