The Art of Workshopping
Why it’s the best thing you can do for your writing.
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Participating in writing workshops, specifically workshops focused on exchanging feedback, has made a huge impact on my writing. Eventually, we all need other eyes on our work if we want to improve it. Preferably other writers, and most importantly people willing to tell you their actual opinion.
After I found a few like-minded writers to sit down and trade feedback with, my poems went up an entire octave in quality. It’s now become an essential part of my editing process. Here’s why.
First — the value of hands-on feedback
There’s just no substitute for having other writers give you direct feedback on your pieces. Writers, of course, are careful readers: we consume words for enjoyment, but we also read with an analytical eye (that we usually can’t reign in, even when we want to).
When I signed up for my first workshop, I was so nervous. The pressure to share “good” poetry in front of all of those analytical, experienced poets felt immense. However, I soon realized that my poetry wasn’t an assignment — and the other participants weren’t looking to give me a grade. They were there to help and to learn themselves.
Workshops are where we can look past generalizations and dig into the specifics. Whether it’s clumsy diction, syntax issues, or a structure that won’t hold together, other writers can offer you actionable insight into how your piece is working. Good workshoppers will catch things that you’re blind to after tens (or hundreds) of re-reads.
All feedback is valuable data on the multitude of interpretations of your work, whether you employ their specific advice or not.
But just because a workshopper feels like something is missing (or should be cut) doesn’t mean you need to listen. Everyone has their own taste. The use of things like abstract imagery or non-sequitur may derail some poets’ reading of the piece, but may still be what’s right for the poem.
I take all feedback with a grain of salt. I also value every speck of feedback and try to consider it fully, even if I decide to go another way. It’s all valuable data on the multitude of interpretations of your work, whether you employ their specific advice or not.
The pressure will push you to write better
I can’t tell you how many times I’ve done unexpected, last-minute edits before sending a piece to my workshop group. Actually, I can: every time.
I always do a final read-through before submitting, and it always leads to some (usually productive) changes. When I picture the workshop group reading it for the first time, I see the poem differently. I catch things that may be unclear. I almost always find something in the poem that’s not fine-tuned or the way I want it to be.
Anything that pushes me to more editing is a win.
Critiquing other people’s work is just as valuable as getting feedback — maybe more
Perhaps the most important takeaway: don’t slack on the feedback you provide to others.
Not only because you’re short-changing your writing group, but because you’ll be skipping out on the main thing that will make you a stronger writer in the long-run. Critiquing and discussing other writers’ poems trains you in different styles, forms, and approaches. By reviewing and rethinking other people’s poems, you learn to see your own more clearly.
I actually find talking about other people’s poems to be the hardest part of workshopping. Especially at first. I was surprised by how poorly my brain formed words on one of its supposed favorite subjects.
Sometimes I could only manage to think “Wow, I like this!” or “That line, so good!”. And that’s it. Cut-and-dried opinions came so easily, and I often felt at a loss when it came to actual editing advice. Luckily, I learned from others in my group how to dig into a poem beyond surface-level likes and dislikes. Workshopping taught me how to figure out: Why do I like this? Is there a moment or a rhythm that’s getting me? Is this imagery sticking with me?
And where does it fall short? What do I want from the piece that I’m not getting?
By learning to articulate what’s working and what’s not working in a poem, you will steadily gain a deeper understanding and the ability to edit your own work more thoughtfully.
It feels like a lot of work to provide quality feedback, and it is — but it’s worth every effort.
Thanks for reading! Do you workshop? Why or why not? Would love to hear your thoughts below. For more on the gorgeous universe of contemporary poetry, follow The Line Break.
