gang,
i have a question for everyone: how do you handle workshop critcism? what is your technique for both emotional and literary recovery? do you go it alone or ask for help? do you talk to the instructor?
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For announcements and contributions to the Eng 189 thesis seminar. Share your ideas here!
Elmaz's Office Hours
Mondays - 1:30-2:30
Elmaz's Office @ 331 Mills Hall
Tuesdays - 5:00-6:00
Elmaz's Office @ 331 Mills Hall
And by appointment.
Elmaz's Office @ 331 Mills Hall
Tuesdays - 5:00-6:00
Elmaz's Office @ 331 Mills Hall
And by appointment.
Emily's Office Hours
Tuesdays
1:00-2:00 - Elmaz's office
5:30-6:30 - The Tea Shop
And by appointment.
1:00-2:00 - Elmaz's office
5:30-6:30 - The Tea Shop
And by appointment.
How many are in our class?
17 + 1 Elmaz + 1 Emily = 19 people
Make 19 copies of each story.
New Class Location
Thesis Requirements
A prose thesis = 35-50 pages
A poetry thesis = 25-35 pages
A poetry thesis = 25-35 pages
4 comments:
I find that, while writing is a very personal thing and criticism can feel like a personal assualt at times, it helps to gear up for being critqued. At least for me, I'm able to distance myself from my work enough to allow for criticism.
But then again, I also feel that how criticism is given is key in making or breaking the experience. I think criticism can be given without being nasty about it and as long as there's a sense of positiveness among those being critiqued and those doing the critiquing everything will fine.
In short, I suppose I want to know what works and what doesn't work for you instead of just being told you don't like it.
Following a workshop, I mentally tally up what most people said. If one person brought up plot as a problem, but 7 people said they didn't believe Mr. Hollis was a real person, I only focus on Mr. Hollis. Sometimes I write a list with 2 columns labeled "what I think" and "what I hear" and compare the two. I consider where the readers disconnected with my intentions.
I don't look at my story or the critiques for about 2 months, until I have a more distanced perspective.
I tend to ask the instructor if any feedback is nonconstructive or confuses me, or if I am traumatized in general.
Hearing what the readers sees, even as a sort of summary at the top of the critique, is helpful. It helps to see specific examples.
I always try very hard to figure out what comments/critiques actually ring true to my story, and discard the ones that are simply hurtful. Very seldomly have I found anyone at Mills to be "mean" during critiques, and often I've received very helpful advice.
But when it seems like a workshop went really badly, I think of specific things. Are the comments I disagree with actually correct? It happens, though the final authority is always with the author. Another thing I consider is that there are always, always people in class whose opinions matter to me (not always those who are the most complimentary, either). Usually that includes the professor, sometimes it hasn't. I think it really is important to find those people who seem to "understand" or can meaningfully help with your work...and there are always some people you have to tune out a bit, because they are being more destructive than constructive.
When I'm evaluating how helpful a person's critiques are (and usually this is done more unconsciously than consciously), I find that I pay less attention to those commentors that inundate me with comments, such as a full page of numerous critiques as well as line-editing. I always pay more attentiont to those who seem to have considered their critiques and tried to give me the most salient points, as well as line-notes, without just putting their own personal taste on my work.
Luckily our class seems to know what it's doing. :) But these are just some ideas of how you can evaluate what is important to take seriously, and what might be disregarded. Remember, there are more than 6 billion people in them, and a hell of a lot of them carry English degrees. Writing isn't democracy.
I think it's important to respect yourself as a writer, and that means respecting that you're going to go through many, many drafts, and even if they're very rough, by no means does that make you a bad writer. You have to have respect for the process, and if the person giving criticism does not and is incapable of giving constructive criticism, you can disregard it and focus on the constructive criticism, because that is the kind that has respect for the process, which is most important. Also, pay attention to who really reads and understands at least what you're trying to communicate, and focus on that. I think it's important to hear a wide range of critiques, because well rounded feedback is important. However, it is also important to understand that not everyone is going to understand or more importantly, have respect for where you're coming from, and it's important to recognize that and keep that in mind.
p.s. although this is a little off topic, but not really because it's along the lines of criticism and being well rounded- I really appreciated the critiques I got from everyone for my work. I know there aren't a lot of poetry people in the class, and I heard a lot of "well, this could just be me, I'm not really familiar with poetry..." comments, and I just wanted to say that I don't want anyone to worry about that. I will be more than happy if someone who doesn't really read poetry happens to like my poems, because then I know it might not be half bad. I just want to know your gut reactions, regardless of your experience with poetry, because I want it to be accesible and transfer certain feelings to everyone and anyone who reads it- I am not aiming to please an elite poetry crowd, I just want to reach people, because that's what I think good poetry will do. So thank you all for your criticism and I always appreciate the gut reactions.
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