2.  The writer/reader makes no disclaimers, apologies or explanations about the work to be read.

The only appropriate introductory remarks are those that give pertinent background information not contained in the reading.  (For example, if the middle of a short story is being read, it might be acceptable for the reader to give the workshop a very brief summary of the beginning.)  More often than not, introductory comments only serve to reveal problems in the piece that will soon be revealed anyway.

Many novice (as well as veteran) writers feel anxious prior to reading.  They experience a need to gain sympathy through explaining, apologizing or discounting their own work.  The workshop leader should try to calm the reader.  But, at the same time, the leader should press the reader "to get on with it."

3. The writer reads his/her work aloud to the group.

While reading aloud may seem time consuming, it is crucial.  The process of reading aloud to a specific audience forces the writer to confront problems in the piece that are otherwise overlooked.  Frequently, a writer will have an epiphany about his/her work even as he/she is reading aloud.  This is true no matter how many times the writer may have gone over the piece alone.  For these reasons, only in rare cases, such as laryngitis, may the writer designate a substitute reader.

Although the leader may stipulate that the writer provide copies in advance to the workshop, this is by no means a requirement for a successful workshop.  Many very effective workshops are run solely on the basis of an oral reading.  However, it may help less experienced listeners to have a copy to follow.

A page or time limit is a good idea, particularly in a larger group.  However, some flexibility should be given in deference to the creative process.  Still, the leader and the reader should keep in mind that the quality of the group's critique drops off markedly if the reading becomes too long.

4.  Immediately after reading, the writer listens "in vegetable silence" and may take notes.

Under no circumstances should the writer/reader be allowed to engage in any discussion, debate or explanation during this part of the process.  He/she must simply absorb the comments and take notes. If necessary, the leader may allow "yes or no" questions to be asked and answered.  Any longer responses by the writer/reader must be saved until the end of the workshop.

5.  Workshop members critique the work one at a time in a prearranged order.

If there is an unwieldy number of members, the leader may wish to explore these two alternatives:

a)  Break into two (or more) workshops.  However, do not shuffle members between the workshops.

b)  Do not have every member comment on every piece.  You could either have a set rotation or the leader could pick at random.  Those not chosen to comment on a particular piece can add their "essential" comments at the end, in writing or after the workshop.

6.  Rules to keep in mind while "critiquing"

The workshop leader may wish to have a written copy of this section for each group member.

• Attempt to balance specific comments between what "works" and what "needs work" in a piece.  It is important for a writer to hear what "works" not merely to soothe his/her damaged ego, but also so that in those later moments of lonely revision, the author will not excise the strengths along with the weaknesses of the piece.
• Do not ramble.
• Focus on the craft.
• Do not interpret.
• Avoid comments that begin "I think this is saying..." etc.
• Do not rewrite.  Let the writer know what needs "fixing," but do not offer suggestions about how to fix it.
• If you agree with an observation already made, briefly reiterate the point, but don't dwell on it.  It is helpful for the reader/writer to hear a point several times.  Writers are a stubborn lot, and sometimes we need to be told several times before we realize our precious baby needs changing.
• Do not critique a critique. If you disagree with a point made by a previous workshop member, briefly state your point and go on.
• Do not feel you have to make every single point. Your critique is often more effective if it focuses on a few important details.  Chances are, if something you left out truly is an important point, another participant will bring it up.  If not, there will be time afterwards.
• Avoid ulterior motives in your critiques. Watch out for those comments that make you look especially clever or that elicit a laugh. 

7.  Listen carefully to all the other critiques.

Inevitably, the problems occurring in another piece will appear in your own work. Listening and absorbing critiques of other work is the single most important part of the learning process.

8.  The workshop leader facilitates the process.

Periodically remind members to keep their comments brief, specific and to the point. (If rambling is a persistent problem, the leader may wish to impose a time limit on each critique.)

Remind the reader/writer to maintain "vegetable silence."

Do not allow members to speak out of turn.

If there were specific elements of craft that prompted the assignment for the workshop, the leader may wish to encourage the workshop members to focus on those elements.  The leader may also need to periodically remind members of this goal.

Moments of humor can help ease tension and bond the group.  However, humor that is disparaging of any piece of writing or of any group member should never be tolerated.

9.  The workshop leader does the final critique.

The workshop leader must abide by all of the above rules.  Modeling the critical process for the other workshop members is as important as the critique itself.

10.  The reader/writer thanks the workshop and makes a short response to any points in question.                                    

Some pieces will generate a lot of excitement.  While the group will want to keep talking and debating the piece, remind them that it is time to go on.

Additional Note:

The leader must be an adult, experienced workshop participant.  A workshop is a serious endeavor fraught with many perils.  The most well-intentioned groups can be damaging if not done properly.  Avoid student led workshops, however gifted the student leader may be.  In fact, the most gifted student can do the most damage, accidental or otherwise.