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The Craft of Poetry: Workshop Etiquette (Poetry Society of Virginia Newsletter, Sept. 2001) When we participate in peer review critique workshops, we need a common understanding of how we are going to react to one another's poems. I propose the following as a starting point of discussions for any beginning group to come up with a beginning understanding of how their group will work. As the group gains experience with one another, some of the procedures may change. There is a difference between email critique groups and groups that meet face to face. Email groups have several advantages. Group members can be from places far apart, giving the group geographic diversity. They can include the ill and others who cannot travel. There is time for mature reflection before responding, and lengthy uninterrupted responses are possible. When the group meets face to face, tone of voice, pauses, and body language are a part of a group member's reaction. None of this is possible in an email group. Therefore e-mail reactions should be carefully crafted to deliver the intended message. Since this is sometimes difficult for some of us, recipients of our comment should assume our good intentions. It is rare when one of us intentionally wants to hurt or offend another. A poorly managed face to face group often degenerates into discussions of non relevant issues. This is not a problem with email groups. Of course, some freedom of expression needs to be present in groups that meet together, but the group leader needs to keep the group focused. The tone and content of the critique offered in the two types of peer review group is pretty much the same. The first rule here is to be generous of spirit. Show respect for the efforts of the poet. Don't dump on the poet. Remember that we are all brothers and sisters in the poetry community. Usually it is best to start your comment with something positive about the poem. Poems may tell a good story, &/or faithfully follow a form, &/or have good sound quality, &/or have good imagery. Comment on which of these aspects is especially strong in the poem, and which could be improved to make a better poem. Tell how the poem affects you. Look at the poem's internal integrity. Say what you think the poet is trying to accomplish. Remember the poet: -has started with an experience (real or imagined), -has internalized an image of that experience (developing a mental image, including the impact of the experience and the emotional response to the experience, accepting a message from the experience), -and has written a poem to share that image (using poetry as the vehicle of sharing, using a voice in the poem that fits the image.) -you as a critical reader/listener should be able to find access to the poet's image and experience vicariously what the poet experienced. When your critical reaction gets to the micro level (word choice, line breaks, rhyme, meter and other poetry tools), remember you are only a consultant to the poet. Do not try to take over the poem as your own. State your advice and the reasons for it but do not advocate too strongly. Do not argue. It is not your poem. Comments on spelling and grammar should be brief and direct. Let the poet check on their validity later. Here are some suggestions for the poet, especially useful in face to face workshops: -do not immediately react to reviewer's comments. Listen and take notes. -do not explain, defend or react to questions until the review is finished. Let the poem stand (or fall!) on its own. -when all comments are in, you may ask questions or react to the criticism. -thank the group for their help. Stuart C. Nottingham |
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