ENGL210 – 4
Spring 2009
Instructor: Lily Rabinoff-Goldman

Classmate Critiques
1st Fiction Workshop Groups:
1.	Naomi, Marcella, Maria, Natasha
2.	Colin, Pam, Felix, Justin
3.	Brian, Sean, Smriti, Kennesha
4.	Chris, Adam, Kat, Katherine
5.	Noah, Javaughn, Lara, Leah
6.	Selvin, Tim, Katie, Beth 
Classmate Critiques: 
You are responsible for READING all 4 stories/scenes of your group-mates (see groups above), reading each carefully at least twice.
You will be writing TWO CLASSMATE CRITIQUES (explained below), as well as jotting some notes for the other two pieces of fiction you read.
TWO CLASSMATE CRITIQUES*:
•	You will write a classmate critique for the two people listed after you in your group; if you are the last person listed, you will do the first two (E.g.: Group 1: Naomi will write critiques for Marcella and Maria; Marcella for Maria and Natasha; Maria for Natasha and Naomi; Natasha for Naomi and Marcella).
•	The Classmate Critique must be on a TYPED PAGE and include the following (either in a bulleted list or letter form): 
•	Write a short summary of the scene/story.  Just a few sentences.  
•	At least two detailed things you thought were particularly effective. Be specific about the craft element (voice, image, character, etc.) and where in the story/scene you are referring to (either quote the phrase or line, or point them to the page and paragraph, etc.). 
•	At least two “interrogations” of the story/scene (as explained by Burroway in the Introduction to the writer section). E.g.: I’m wondering about the word choice in line three, or This reminds me of…, or Could this be expanded to…?, or I wonder what would happen if…?  
•	And one kind, thoughtful suggestion about how the story/scene might be improved (e.g., expand this metaphor, think about ways to connect these two images more succinctly, consider changing this to past tense, etc.).
•	Bring the stories/scenes and TWO copies of your critical responses to class (one for the author and one for me).
•	You are responsible for leading the discussion of the person how directly follows you on the list (e.g., Naomi will lead discussion of Marcella, Marcella of Maria, etc.).
These critique letters are the jumping off point for your discussion…don’t just read them to each other!  Get talking about the story/scenes!

*Classmate Critiques will be graded.  If you follow the directions above, you will get an A; if you don’t you will get something else.

FOR the 2 stories/scenes you are not doing a Classmate Critique for, print one copy and do the following directly on the story/scene: 
•	Underline or check lines, images, or moments that struck you as strong. 
•	Write at least one thing you thought was effective;
•	Write at least one question or interrogation into the story/scene
•	Write at least one helpful, kind suggestion. 
•	Bring the story/scenes with your comments to class to discuss and give to the author.  
You should be ready to talk about EVERY story/scene in your group.  

Part II: Workshop Rules
Workshop Rules:
We will work hard to maintain a respectful, safe, kind, and constructive workshop environment.  To do that, some rules need to be set up, understood, and followed by EVERYONE.
1.	The piece is under discussion.  The author is not.  Make sure your comments relate to the nature of the writing and not (even by implication) to the character of the writer.  Separate the writer from the voice or character.
2.	Continue to interrogate the piece respectfully:  What kind of piece is it?  What does it suggest?  What is its apparent aim? What are its current strengths? Where is it unclear?   REMEMBER: This is an early draft.  There’s no need for harsh criticism at this stage. 
3.	The goal of the workshop is to make THIS piece the best that it can be.  There’s no place for dismissal or disregard.  On the contrary, the obligation of the workshop is to identify and foster the promise in every story/scene or story.
4.	As the writer, your obligation is to LISTEN attentively, take everything in, and keep your natural defensiveness in check.  You may not speak while your piece is being discussed.   Be still and be greedy for suggestions.  Write down everything you can.  Remember, your cohorts are trying to help you make your piece the best that it can be.  But this is the least important part of the workshop process for you.  The most important part comes later, when you get back to work.  Then (and only then) will you begin to sort out what’s useful to you.  When your group has finished discussing your piece, you are free to comment, but remember: they are here to help you!  
How the workshop will run:
You groups have already been determined and the order is of importance.  Each group will start with the first person listed leading the discussion for the first of story/scene (the second person is the first up).  There are four of you in each group and there’ll be about an hour total; each story/scene should get at least twelve minutes, but no more than fifteen.
1.	Each discussion will start one of two ways (which is up to the author): the author will read a few paragraphs out loud OR the discussion leader will read those paragraphs out loud.  It’s important to hear your work read out loud!
2.	Once the story/scene has been heard, the discussion leader will begin by discussing the strengths he or she found in the story/scene.  This is to be a discussion: each person in the group should have something to say, even if it is to echo what someone else has said.  It’s important for the writer to know if everybody loved a certain image or line…so say it!
3.	Once the strengths have been discussed, the discussion leader will move the group toward the interrogations of the story/scene.  Again: this is a discussion!
4.	Finally, discuss suggestions.  Here’s where you can just go around the circle.  If a discussion ensues, fantastic!

Useful questions for the workshop to ask of a piece:
1.	What other works does this piece remind you of and how/why?
2.	How is this piece structured?
3.	What is it about?
4.	What does it say about what it’s about?
5.	What degree of identification does it invite to the reader?
6.	How does its imagery relate to its theme?
7.	How is persona or point of view employed?
8.	What effect on the reader does it seem to want to produce?  
9.	Where is it succeeding?
10.	Is the language fresh?
11.	Is the action clear?
12.	Is there a clear point of view?
13.	Is the rhythm interesting?
14.	Are the images concrete, specific, and interesting?