It seems very likely to me that we’ll come upon our own ideas of how we’d like our workshops to proceed, but for now let’s stick to something tried and true. I’m working now from the model most sound in my experience:
We will begin each workshop by listening to the writer, who will read from his or her own work. It’s helpful to hear the text vocalized according to the writer’s intent – it gives us a sense of voice we may not otherwise have had. The writer may choose to read the entire work (if it’s pretty short) or a few pages (if it’s pretty long). And that’s the last we’ll hear of the writer during the critique of the story. It is absolutely imperative that the writer listen to the conversation from that point on without participating. This will ensure that the members of the group feel safe entering the discussion. They simply won’t if they must worry about addressing the writer – the focus should always be the story. This may be difficult for some writers. The difficulty soon subsides. Trust me.
Next, a volunteer (perhaps someone whose work will also be up that evening) will begin the critique. It’s not a bad idea to start with a positive. Then, we’ll all join in. Try to explain yourself in a way that might allow the writer to understand your experience of reading the story and understand you as an earnest person. Details will assist you in achieving this goal. Mark freely but conscientiously on manuscripts. It is frequently the case that in seeing our stories we lose sight of them. That’s why comments and notes on manuscripts are so important. But let’s please not be petty. A word of advice: read the story through at least once before commenting upon it. Remember to sign or initial your copy of the story before returning it.
Finally, at the end of the workshop, the writer will have the opportunity to ask questions. (This time should not be mistaken as an opportunity to defend or explain the story.)
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