Writing workshops are group sessions where writers gather to share, critique and improve their work. Various models of writing workshops have been developed over time to suit different educational settings and writing goals. Workshop attendance might be restricted to a select group (such as a writers' circle or class) or open to the public.
Most workshops include some kind of sharing of work, reflection upon and discussion of the work, and often suggestions for improvement.[1] There may or may not be a facilitator, who is usually an established writer or teacher, but can be a volunteer from among the group. Workshops can work on very established rules and formats, or can be more freeform.
The traditional workshop model, also known as the Iowa model, was developed at the University of Iowa Writers' Workshop in the mid-20th century, under the directorship of Paul Engle.[2] It typically involves:
This model emphasises peer critique and iterative improvement, and is the most recognisable workshop model.[1][3][4] The "gag rule" is the most contentious element of the workshop, since it silences authors, which might aggravate power imbalances in the workshop. Its original aim, however, is to prevent the author missing feedback by trying to defend or explain their work.[2][5]
The guided workshop model incorporates elements of direct instruction alongside peer critique. It involves:
This model aims to balance individualised instruction with collaborative learning. More advanced forms of guided workshop, particularly when they focus on a single element of craft, may be called masterclasses.
One form of guided workshop designed for school-age children is TCRWP's Writing Workshop, developed by Lucy Calkin as part of her controversial Teachers College Reading & Writing Project curriculum.[6]
The 40-minute draft workshop,used at Princeton, aims to root critique in honest feedback, while also strengthening participants' critical reading and writing skills. The process is as follows:
Because the participants are empowered to deliver feedback directly, rather than relying on a teacher to guide them, the process aims to phase out the use of a facilitator. Referring back to the text when making critiques, and using "high-order Lexicon element[s]", strengthens students' critical reading and writing skills, which is particularly useful in an academic setting. Writing feedback down in advance helps keep on discussion on track and provides a record of feedback if anything gets missed.[7]
In 1990, Liz Lerman created the Critical Response Process (CRP), a highly structured method of feedback often used in creative writing. Lerman developed the Process after realising artists tended to apologise, rather than ask questions, when presenting unfinished work.[8] An important point to note is that unsolicited feedback can't be shared. The relevant steps are:
This process encourages constructive dialogue and empowers writers to make informed decisions about their work. To make unsolicited feedback, a responder first has to ask the writer for permission in the final stage (Opinions and Suggestions); the writer can always say no.[8]