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How to Give Constructive Feedback to Creative Writing

December 14, 2020 // by Lindsay Ann // 1 Comment

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Do you wonder how to give constructive feedback on creative writing and poetry pieces created by student writers who have put their heart and soul into them?

I think all teachers struggle with this question to some extent. It is because we care.

This can lead to indecisive response to student work. We waste valuable time when we lack a plan for response and worry about the emotional reaction to our feedback.

In this post, I’m all about sharing practical strategies that will teach you how to best give constructive feedback.

I want you to feel as comfortable responding to creative writing assignments as analysis based writing or argumentative writing assignments so that you can help student writers grow without deflating their fragile egos.

Setting the Stage for Writing Feedback

I think that it’s important to remember the feeling associated with having someone else read our work.

When I was a student, it was always a mixture of anticipation and dread . Would my instructor like what I had written? Would my grade reflect the time and effort I had put into the assignment?

A couple of things before we discuss how to give constructive feedback…

👉 I think that it’s important to be clear with students upfront about the skills you’re looking for in a creative writing assignment. Frontload with exemplars and use creative writing exercises to practice skills. Then, when it comes time for students to write, they will know what they are expected to do as writers.

👉 At the same time, it’s important to focus on feedback during the writing process . This allows our response to be as readers rather than as evaluators.

👉 Finally, I think that it makes a BIG difference when you model your own creative process for students. The more I can show students that writing is messy and imperfect, that I go through the same process as them, the more my classroom dynamic shifts from teacher-centered to student-centered and collaborative. If you’re wondering how to give constructive feedback to students, ask them to give feedback to you first.

Constructive Feedback for Students

When it comes to student feedback, less is more. I’ve blogged about this before, but I’ll say it again (and again) (and…again).

Most students don’t care about our carefully-worded paragraphs. They want to be seen and heard , but they also want to be able to understand what they can do to improve.

This means that feedback should be direct, specific, and actionable . This means that we need to respond as readers , not evaluators. This means that we will leave a manageable amount of feedback to build a student’s momentum.

Strategies for How to Give Constructive Feedback

➡️ Only mark the lines you love the most. Highlight them, underline them, put a star in the margin. Choose a couple of these lines to comment on. What did you notice? What did you like/realize/want to know?

➡️ Focus on the skills taught in class. So, if you taught characterization and concrete details, give feedback specifically on those elements. Ask students to revisit resources/screencasts/examples, etc. to review these skills.

➡️ Focus on moments of clarity and confusion. Where did you, as a reader, make a connection or realize something important? Where were you confused?

➡️ Yin Yang Feedback

Find something specific that you liked/enjoyed (and explain why/how ). Maybe it’s a bit of figurative language or a vivid image. Pair this with a suggestion for where the writer can continue to work on this same skill. Essentially, this is like saying, “See, here, you did this thing that I liked and enjoyed…can you do more of that over here?” Or, “As a reader, it seemed to me like your intent was x, y, or z when you wrote _________. I’m wondering if you can make this clearer when _________.
What is the highest level of skill mastery you can observe? Find an example of success and talk about why/how it was successful. What is the most important skill that still needs to be developed? Find a place where the student can begin working on this skill.
Where were you most engaged/interested in the story. Leave a quick note about what captured your attention. Where were you least engaged/interested? This type of teacher feedback encourages revision.

➡️ Be curious. Read through the draft and ask questions… only questions . This is a kind of constructive feedback students love to hate (because it makes them think ). I ask my students to respond and revise. This strategy rocks because it establishes feedback as a two-way conversation rather than a one-way lecture.

➡️ Have students direct your feedback by asking you questions about their work. Alternatively, you can ask students to reflect on how/where they have demonstrated the skills you’ve taught in class (or the goals they’ve set for themselves). Then, you simply read through and respond to their comments, sharing your thoughts and suggestions.

➡️ Use a writer’s workshop model in which you conference with students about their work. You can train students to lead in these conversations if you choose the 1:1 model. Alternatively, you can form writing circles in which you provide students examples of constructive feedback before asking students to take turns reading their work out loud and solicit feedback from group members. You can float between writing groups, joining the conversations as needed.

Final Thoughts

I hope that I’ve helped you learn more about how to give constructive feedback to creative writers.

As we become purposeful in our responses to students, the benefit is that we streamline our own systems and processes which allows us to feel better about the feedback we are giving and also the amount of time it takes to provide this feedback!

Hey, if you loved this post, I want to be sure you’ve had the chance to grab a FREE copy of my guide to streamlined grading . I know how hard it is to do all the things as an English teacher, so I’m over the moon to be able to share with you some of my best strategies for reducing the grading overwhelm. Click on the link above or the image below to get started!

About Lindsay Ann

Lindsay has been teaching high school English in the burbs of Chicago for 19 years. She is passionate about helping English teachers find balance in their lives and teaching practice through practical feedback strategies and student-led learning strategies. She also geeks out about literary analysis, inquiry-based learning, and classroom technology integration. When Lindsay is not teaching, she enjoys playing with her two kids, running, and getting lost in a good book.

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How to Give and Receive Feedback on Creative Writing

Kirk McElhearn / 8 MAY 2024

When you’ve finished a novel or short story, it’s helpful to get feedback from people you trust. You may also have a critique partner, or be part of a writing group that offers reciprocal feedback. Here’s how to make feedback useful.

When someone asks for your feedback on a piece of writing, whether it is a short story or a novel, remember that the writer requesting feedback has spent a lot of time laboring over their words, and respect the fact that they are choosing you for your opinion.

When you seek feedback for a piece of writing, it’s important that the feedback you receive is helpful. Telling your beta reader what sort of feedback you expect can ensure that the feedback is pertinent. Here’s how to give and receive feedback on your novel or short story.

The importance of feedback

While part of the writing journey is discovering the story that is within the writer, it’s only when stories resonate with readers that a piece of writing is successful. While you may not intentionally write to please others, the goal of telling a story is to engage the people who read it. The best way to know if your story or novel works is to find out what readers think.

There are many ways to find beta readers, people who read your work to give feedback before you send it out to an agent, editor, or publication. You may ask friends, family members, fellow authors, or you may seek out beta readers in other ways .

As a writer, you may be asked to give feedback on the work of other writers, especially if you are in a writing group where people exchange feedback, or you work with a critique partner. When different people read your manuscript, they may see things that you don’t notice, because you’ve been seeing them for so long. It’s always useful to get opinions on your writing, even if you may not agree with the feedback.

How to request feedback

When you request feedback for a novel or story, you shouldn’t just send it to someone without giving some guidelines. Here are some elements you might wish the feedback to address:

Is the work enjoyable, and did the reader feel the urge to keep reading? Did they want to turn the pages and get to the end?

Are the characters believable, and are the main characters’ motivations clear?

Do the settings feel real?

Is anything over-described?

Does the dialog feel authentic?

Is the plot believable and does the resolution make sense?

Are sentences, paragraphs, or chapters too long or too short? Does the prose flow, or does it feel choppy?

Also, ask your reader to mention any specific points that stand out that you haven’t covered.

It’s best to ask your reader not to say anything about typos unless they interfere with the story. You will have to do several editing passes of your manuscript, and you should be able to find these yourself. You may even want to use an online grammar checker , chapter by chapter, to spot this sort of mistake. It’s not a good idea for your beta reader to get bogged down in minor details. What’s more important is hearing what they think about the story, the characters, the flow, the pacing, and all the elements that make a story or novel flow.

Remember to not take any feedback personally. Your reader may praise some things and criticize others, and their criticism is about the work, not about you as a writer. Feedback is a valuable tool for learning more about your writing, so use it wisely.

How to give useful feedback

When someone asks you to give feedback on their work, they may not have enough experience to know what to ask for. The most useful type of feedback is that described above, but the type of feedback they need may depend on whether you’re reading a work by a new writer or someone who has published already.

The first thing to do when giving feedback is to start by saying what you like about the manuscript. Highlight what works well in the piece, whether it’s plot, character, dialogue, description, or anything else. Remember that you’re giving feedback to a person who may be sensitive about the months or years they spent writing, and it’s important to reassure them that their work is valid. Think about how you would like to receive feedback and apply that to the feedback you give to others.

Make sure your feedback is balanced; for every critical point, include a positive point. Don’t shy away from criticizing elements that stand out, but do this in a constructive way. Offer suggestions for points that seem weak, but don’t rewrite entire paragraphs to show how you would have written something.

It’s important that you understand the writer’s intent, and that you are aware of how their work fits in a specific genre. For example, a friend may ask you to read a novel that is not a genre that you generally read. In this case, you may not be able to give appropriate feedback on genre-specific conventions.

When giving feedback, it’s useful to ask questions if you don’t understand something, such as a character’s motivation or a plot point. This may be more useful than criticism, as the writer, in thinking about the question, may discover something they need to improve on their own.

Giving and receiving feedback for creative writing can be sensitive, because writers are often personally attached to their work. Doing this with care and sensitivity can help writers improve their work and move ahead toward publication.

Kirk McElhearn is a writer , podcaster , and photographer . He is the author of Take Control of Scrivener , and host of the podcast Write Now with Scrivener .

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Fantastic Feedback and Where to Find It

Micah McGuire

Like the White Stag in C.S. Lewis’ Narnia series, good writing feedback is difficult to spot, harder to catch and once you have it, it’s almost impossible to know what to do with it.

Fortunately, receiving writing feedback doesn’t need to be a beast of a quest. With some tips from the world of rapid learning, we can refine our feedback processes to take our writing to the next level without all the stress and frustration.

We’ll cover the feedback process from start to finish: from finding sources and understanding the purpose of each type to knowing what commentary to incorporate into our work once we have it. Interested? Read on.

The 3 Types of Learning Feedback

The struggle for writers, where to find fantastic feedback, what to expect from the fantastic feedback types, incorporating feedback: respect, trust, and gut instinct, resources for feedback.

Before we jump into the specifics of writing feedback, we need to understand the general types of feedback seen in any learning endeavor. In Ultralearning , Scott H. Young discusses the components of deep and rapid learning. One of these components is—you guessed it—feedback.

Young outlines three types of feedback:

Informational
Correctional

Outcome feedback is the simplest form of feedback. It runs along the lines of a grade, pass/fail or a positive or negative audience response. Think of it as overarching feedback on a performance or an entire work. It doesn’t dig into details. It merely says: “Hey, this went well” or “This didn’t go great.”

Informational feedback gives a bit more detail on our practice. It points out if we’re doing something wrong, but it doesn’t necessarily provide direction to fix the issue. It’s the “I know something’s not quite right here, but I can’t tell you what.”

Correctional feedback is the most detailed of the three. It not only digs into if we’re doing something wrong, it also details how to fix the problem. Because it is so comprehensive and requires a certain amount of expertise on the part of the feedback-giver to explain corrections, it’s usually more difficult to find than the first two.

With most types of learning and performance, receiving feedback is fairly straightforward. The tennis ball goes over the net or it doesn’t. The audience goes wild for a song or they don’t. We’re able to carry on a conversation in a foreign language or we’re not.

In all of these cases, we know exactly when and where we’re struggling. We might not know how to correct the issue, but we can recognize the need for a teacher or instructor. That’s because these activities can take advantage of a very important factor: real-time feedback.

Real-time feedback provides an instant opportunity for self-directed correction. Though research cited in Ultralearning states that a delay in feedback may be more beneficial, Scott Young argues in favor of fast feedback. The sooner you know you have an issue, the sooner you can work on correcting it.

But writers generally don’t have the luxury of instant feedback. We can’t finish a piece and immediately know whether or not it’s a hit. Sometimes, we might not even recognize that we’ve hit a snag in our writing. So, where does that leave us?

Of course, we can use programs like ProWritingAid for real-time correctional feedback on grammar, spelling and style. But for the rest, there’s only one answer:

We need to get used to putting our writing in front of others.

If you’ve never sought out feedback on your work before, you might be wondering: who am I supposed to get feedback from?

Your potential feedback audience can be divided into two groups: the general public (reached through posting on sites like Medium or Wattpad ) and one-on-one relationships (such as your mentors, teachers, critique partners and beta readers).

The general public should be your last source of feedback on a piece. Why?

First, you may not receive much feedback until you build an audience. This can take months or even years to build. Which means it’s not exactly a source of rapid feedback. Though it’s always great to begin building your following as soon as possible, it likely won’t be your go-to feedback mechanism.

Second, it’s difficult to separate true feedback from vanity metrics. A variety of variables, including your audience size, exposure rates, and sometimes even sheer dumb luck can factor into the number of reads and comments you receive.

And finally, while public practice is wonderful, it can backfire. Fully polished pieces may be suitable for general consumption, but posting earlier drafts may draw harsh criticism rather than constructive critique. This can have a negative impact on your work and your attitude towards writing, especially if you’re not used to receiving any other feedback.

So save the public practice for the last steps of your feedback process. It’s better to get accustomed to receiving critiques from others in a one-on-one or small group setting before subjecting your work to public scrutiny.

Since we’re looking at one-on-one feedback, let’s tackle an important point: this kind of feedback does not appear out of thin air. Because you are putting your work in someone else’s hands, it’s almost exclusively about relationship building. Like any other relationship, it will take time to build. Give your feedback process time to work before making judgement calls on whether or not it’s helpful.

To get started, you’ll need to do some one-on-one feedback networking, either online or off.

On a local scale, don’t discount your existing network of family and friends. They can certainly have a place in your feedback process—as we’ll discuss shortly!

But if you’d rather go beyond your existing network, explore writers’ groups. By seeking out other writers, you’ll find a built-in network of mentors, peers and even non-writer readers. Local groups can range from writing guilds and conferences to open critique groups to your regional NaNoWriMo chapter.

While running some Google searches or checking sites like Meetup can help, don’t forget about independent bookstores. They can be a wealth of information on where local writers and authors meet. Depending on your budget, you might also consider taking day classes or longer courses offered at a local university. Frequenting anywhere writers and authors spend time can open up a wealth of potential feedback sources.

Online, the opportunities are almost overwhelming. Facebook groups, Mighty Networks, Slack communities, free critique group networks, paid critique group networks—the list goes on and on. To narrow down your starting points considerably, check the resources list at the end of this article.

Now, let’s dive into what to expect when you start receiving feedback.

In your feedback journey, you’ll receive a mixture of the three types of feedback:

Outcome Feedback

Where to Find It: Outcome feedback will typically come from your non-writing beta readers

What to Expect: Think of the typical reactions you receive from sharing your work with family or friends who don’t write. They can give you a basic overview of their opinion of your work, but likely won’t pinpoint weaker areas. That’s a job reserved for your informational feedback-givers.

Why It’s Useful: Yes, this can sometimes seem like feedback fluff because of the generality. But it can be an opportunity to receive a bird’s-eye view of your work and keep you from getting bogged down in too much detail while editing. It also most closely simulates post-publication feedback, so it’s always a good checkpoint before sending work off for final publication.

Informational Feedback

Where to Find It: Informational feedback will appear naturally in critique groups and partnerships. You may also find it from experienced beta readers, regardless of their writer status.

What to Expect: This feedback will impact developmental decisions about your work. It’s about structure, plot choices, characterization—not technical line edits or craft. Strength of opinions may vary, but they’ll typically pertain to an individual piece of work rather than your writing in general.

Why It’s Useful Informational feedback will improve your drafting by leaps and bounds. It’s the creative and “fun” form of feedback. Use your informational feedback sources to brainstorm and bat around ideas about how to fix weaker points. After all, this feedback is about exploration, not finding the “right” answers.

Correctional Feedback

Where to Find It: This is likely to come in the form of a class or from a teacher or mentor. For a late-stage piece of work, it might also come from an editor. These professionals can dictate where your weak points are and potential ways to fix them. Don’t discount your peers, however—if you have a friend who excels at in a certain area of writing craft, their advice might be of a correctional nature.

What to Expect: Correctional feedback may be technical (such as line edits) or it may be more general. You’ll likely run into fairly firm opinions and probing questions.

Why It’s Useful: The “right vs wrong” nature of this feedback means it’s all about craft improvement and editing: ways to fix stilted dialogue, bring description to life, or craft realistic characters. Non-technical correctional feedback should focus on improving your writing skills as a whole, not necessarily a single piece of work.

Once you begin receiving feedback, you may feel a bit overloaded. Should you change this section or leave it? Your readers are split 50/50 on this sentence—do you keep it or delete it? Everyone loved one character, yet you have this feeling they could be cut or condensed with another…

With any type of feedback, we walk a fine line. Writing is, after all, subjective. So the goal is to analyze your feedback and incorporate it in a way that doesn’t derail your specific voice or your confidence.

When deciding how to incorporate feedback, you’ll want to look for patterns. Usually, if multiple readers make the same point it’s worth giving that critique more weight.

For the less obvious fixes, however, you’ll want to look at the source. Consider:

How much do you respect this person’s reputation and body of work? This comes down to several factors including how well they’re respected in their field (i.e. a multi-New York Times bestselling author vs. a newly-published novelist) and how much you personally respect them. It’s up to you as to which you give more weight.

Consider the extreme version of this case: if you’re a rabid Sandman fan and Neil Gaiman comments on your work, that should be given more weight than the commentary of a bestselling talent whose books you can’t stand. Look at the feedback given by your peers, mentors, teachers, and beta readers through the same lens.

How much do you trust the source? Are they a critique partner or part of a critique group you’ve been with for years? Or is the source a random new reader who volunteered for a beta-reading round? How much writing experience do they have? And do you feel this person has your best creative interests at heart?

Creative jealousy is, unfortunately, an ever-present potential problem. If it feels like someone is trying to tear you down or knock you down a peg, jealousy might be to blame more than actual issues with your story.

Gut instinct

What was your instant reaction to your source’s feedback? Did you immediately have a sense of: “Ugh, they’re right—I need to rework this.” Or did some small voice say: “Um, actually, I don’t know about this.” Occasionally, you may have to dig deep to get to your root reaction. But more often than not, your instinct will lead you in the right direction.

Ultimately, remember: this is your work. You don’t want to be so closed-minded in accepting feedback that you’re unable to improve, but you also shouldn’t accommodate every single piece of commentary that comes your way. Given time and strong relationships with your first-line feedback sources like your critique partners, you’ll develop your own sense of how to strike this balance.

If you’re looking to build or expand your circle of feedback-givers, the following resources are excellent initial jumping-off points:

Offline Networking Resources

National Novel Writing Month

Meetups: Writing Groups

"Writer’s Relief" Writing Group List

"Writers Write" Writers’ Organizations List (includes genre associations)

"IndieBound" Indie Bookstore Finder

Online Critique Groups/Partners or Beta Reader Resources

Critique Circle (Free)

Scribophile (Free with paid membership options)

Inked Voices (14-day free trial; paid membership also allows access to monthly webinars)

Online Writing Workshop Providers with Communities

Lit Reactor

SavvyAuthors

Other Online Writing Communities

Absolute Write

The Writing Cooperative Slack

Writers Cafe

Be confident about grammar

Check every email, essay, or story for grammar mistakes. Fix them before you press send.

As ProWritingAid’s Growth Marketing Manager, Micah’s approach to marketing combines her three favorite things: writing, user research, and data analysis. Previously, she managed PR and partnerships for startup GrowthMentor. A geek about all things science, but especially her former field of study, microbiology, and neuroscience, she’s always on the lookout for ways to incorporate fascinating new research into writing. Much of her previous freelance work analyzes the science of productivity, creativity, and how we can better understand the intersection of the two to lead richer lives. Outside of work, you can usually find her baking or typing away at her latest science fiction or fantasy project.

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How to give constructive feedback on writing that rocks

Knowing how to give great feedback (and also how to spot writing feedback that serves rather than shuts down) is crucial for author growth. Learn more about helpful vs unhelpful feedback.

Post author By Jordan
17 Comments on How to give constructive feedback on writing that rocks

Learning how to give constructive feedback on writing is a valuable communication skill. Understanding the difference between helpful and unhelpful feedback is wisdom you can apply in other areas of life – in relationships; when a friend asks your honest opinion. Learn how to give sensitive, useful critique (plus strategies for taking feedback on your own writing better):

How to give constructive feedback:

Remember the purpose of writing feedback, understand helpful vs not helpful feedback, prioritize your suggestions, use the ‘slug sandwich’ to temper criticism, match critique style to the writer’s level, critique the writing, not the author.

Why give writing feedback to others in a writing group, in a critique circle, or become a beta reader ? Giving feedback:

Helps others improve their writing so they can reach their goals.
Improves your own problem-solving (developing critical thinking skills you can apply to your own work).
Builds rapport with writers that sustains productive collaboration (when given in a tactful and supportive way).

The purpose of writing feedback depends, of course, on its context.

In a classroom, feedback is to assist language learners in developing skills such as composition, clarity, style and general language usage. Feedback helps you see the common languag e or formal errors you make most often, and learn how to avoid making the same mistakes repeatedly.

In a fiction writing group or editing process , feedback provides uses such as having an external sounding board, collaboration, and developing your writing towards a further goal (such as publication).

Helpful feedback is commentary that helps a writer to make a text a better version of itself.

It does not tell the recipient ‘you are bad’ or ‘I am better’. Rather, it is driven by an ethos of ‘let’s make this stronger, together’.

Helpful writing critique tends to provide:

Comments aligned to the writer’s stated or implicit goals (e.g. if the author is writing romance, an implicit goal is that the story’s central conflicts involves romantic relationships, the conventions of this genre)
Specific, actionable suggestions (compare ‘this part might be even more interesting if you…’ to ‘this part is boring’)
Examples – compare ‘Ugh this is full of comma splices’ to ‘you have a comma splice between [two given words]’. The second pinpoints an actionable improvement

Types of unhelpful writing feedback include feedback that uses:

Mean/unkind tone likely to discourage (e.g. ‘You should give up writing’)
Sweeping suggestions that lack specificity (e.g. ‘This isn’t interesting’)
Subjective bias presented as a universal value (e.g. giving a negative critique because the feedback giver does not like the genre, regardless of the writing’s own qualities)

Here is an example of less constructive feedback from the comments section of this article:

This is unhelpful propaganda. Brutal honesty is a kindness. Commentator, ‘Irefuse’

The comment checks all three of the above points:

Its tone is direct but unkind and discouraging in its use of negative exaggeration (accusation of a defamatory nature – the false accusation of creating ‘propaganda’).
It makes sweeping claims without examples to back up the argument or further specificity (‘propaganda’ is defined as ‘information, especially of a biased or misleading nature, used to promote a political cause or point of view’).
It makes the universal yet subjective statement that ‘brutal honesty is a kindness’. The truth is many writers will not experience your brutal honesty in writing groups or reviews as kind. This is where the distinction between a nuanced critique and vitriol matters, the sensitive and empathic versus the excoriating hatchet job. Empathy and intent make a difference in whether people can hear – and act on – feedback.

Critique empowers, or opens up another perspective. Criticism is harsher, the kind of ‘brutal honesty’ that may be unhelpful or counter-productive.

Let’s look at how to give good feedback on writing, given the above:

A great strategy for giving critique is to prioritize your suggestions. George Mason University has a helpful guide to giving feedback that talks about ‘Higher Order Concerns’ (issues such as overall clarity, effectiveness) and ‘Lower Order Concerns’ (minor, sentence-level issues such as SPAG, also known as spelling, punctuation and grammar).

Lead with the most important, standout aspects. First the good elements, then the areas needing improvement.

Our manuscript evaluations are structured this way (the first two sections highlighting standout positives and broad areas for improvement).

This means the writer leads with encouragement they can carry over as ‘buffer’ into any more critical observations. There’s an aura of positivity to tide them over, through any rougher patches.

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This is a classic approach to criticism (often, a curse word replaces ‘slug’ – this is the classroom-friendly version).

What is a ‘slug sandwich’ in writing feedback? You:

Give kudos to or acknowledge the writing’s most effective aspects – what gave you the most pleasure or appeared the most effective.
Next, you move on to areas that (in your opinion) require further work, preferably with specific, actionable examples.
End with sincere words of encouragement.

How to give constructive feedback - the slug sandwich - infographic

Example of constructive critique

An example of constructive writing feedback using this approach for the classic fable Cinderella:

[The ‘top slice’ of kudos] I enjoyed how you showed the complex family dynamics between Cinderella and her step-mother and mean step-sisters – this rang true of an adjustment phase that often does happen in blended families. [The ‘middle slug’ of suggestion] The fairy godmother could read like a deus ex machina to some – something that comes in and saves the day, making success a little too certain or easy for Cinderella. Is there perhaps a further challenge she might have where the godmother is unable to assist her, like a ‘dark night of the soul’, something that truly tests her and she has to stand alone and ‘figure it out’ for herself? [The ‘bottom slice’ of encouragement] You’ve captured the relationships within the family well. Perhaps consider cutting off the godmother’s support in the rising action towards the end so that the stakes and suspense are even higher. Keep going! Example of three-part, constructive feedback

Common criticisms of this feedback approach (often shared in the business world) are:

People come away only remembering the ‘bread’ of kudos and encouragement (criticism gets lost in the mix).
It may seem inauthentic due to having a somewhat ‘templated’ format that can seem impersonal.

These are valid objections to this approach. However, if you keep each part to the point, and strive to fill your feedback with empathy, purpose and tact (authentic connection, in other words), your feedback should still be effective.

It’s better than harsh feedback which shuts down openness and discussion.

In a critique circle or as an editor starting out, you’ll likely find yourself critiquing writers who are writing at all different levels.

In a Critiques Live writing workshop (a Now Novel membership benefit for The Process and other plans), some Now Novel members shared that they ‘didn’t feel qualified’ to critique other writers.

This is where it’s helpful to remember that there is a difference between professional editing and peer review. Every peer has different experiences and may pick up on different elements of the story and contribute an immensely useful perspective (because of their individual field of reference).

Some writers may be ready for publication or have already published. Others might have written or have just started their first ever story.

Match your feedback to where the writer is at. If a writer has stated, for example, that English is not their first language, cut them slack on errors of usage. Rather suggest a general grammar resource they can use for self-study if they wish than tear apart their writing error by error – unless you’ve been hired as a copy-editor for precisely this role. The best critique helps people where they’re at, not where the reviewer thinks they ought to be. Great editing elevates, never condescends.

There are times where you might read work where the characters are objectionable, or the subject matter is unsavory to you.

It is important to critique the writing rather than leap to ad hominem (personal attack).

For example, if an author writes a story where all the male characters are arrogant chauvinists and all the women are simplistic ‘bimbo’ tropes, this could be reflective of the author’s own limited awareness or sensitivity to gender issues.

They could also hold opposing views to their characters or could think they are offering excellent social critique or satire, unaware of how they could be misread .

In giving good feedback, it is thus safest to focus on the text itself. Frame criticism in terms of the writing itself. Critique the writing. It is much more likely to reach an author if you say, for example, ‘The female characters at times seem two-dimensional, as though they only exist to satisfy the male characters’ needs, such as when…’. Compare this to writing feedback that says, ‘Gross, you’re a sexist pig’…

Nuanced feedback opens dialogue instead of shutting down communication (when feedback giver and recipient are open to it). This allows for true improvement and learning.

How to take constructive feedback better

Giving good writing feedback is one challenge. Receiving it without it denting your motivation is another entirely. In a recent open Now Novel writing webinar , an attendee asked in the Q&A portion how to take feedback. You could try:

Skim for tone. Is writing feedback given with tact, care, precision and purpose? If not, don’t give it too much weight or power over your self-belief. Don’t even read it to the end if it appears mean-spirited.
Pretend you’re reading editorial feedback for another author. (Active dissociation can help to make it feel less personal.)
Look for supporting statements: Does your reviewer support any suggestions or statements with examples from your own story or others?
State the specific type of feedback you’re looking for upfront. For example, if you struggle with detailed description , you could say ‘Please suggest how I could improve my descriptions’. If feedback doesn’t fulfil your brief you then have reason to skip it.

Need constructive feedback? Get a free sample edit when you request a quote for our fiction editing services .

Further resources

Angela Ackerman offers excellent advice on how to handle critiques of your own work: Evaluating Critique Feedback . K.M. Weiland gives succinct pointers on sorting good feedback from bad: How to Get Feedback on Your Writing (and Sort the Good from the Bad) .

Although business-oriented in scope, Scott Halford’s piece for Entrepreneur raises how important it is to create an atmosphere of safety in giving feedback.

What’s the best writing advice you ever got? Tell us in the comments.

Writing feedback: How to get helpful critiques
Giving writing feedback: Improve your craft
How to find beta readers for final draft feedback
Tags writing feedback , writing groups

Jordan is a writer, editor, community manager and product developer. He received his BA Honours in English Literature and his undergraduate in English Literature and Music from the University of Cape Town.

17 replies on “How to give constructive feedback on writing that rocks”

This is so timely for me, it’s uncanny. Thank you, Jordan. I had reached an impasse and almost wanted to quit my writing group. Now I see a way forward.

Hi Heather, I’m so glad to hear that. If it’s not a fit with your writing group, I would say you’re completely within rights to seek a better fit. I hope the way forward works out. Thank you for sharing your feedback.

Thank you for this. The key points for me were: a) Make a text better a better version of itself. b) Lets make this stronger, together. Be specific, use actionable suggestions, while encouraging continued writing. Perfect.

Hi Jamie, it’s a pleasure. Thank you for reading this.

Its very helpful.

Thank you for your feedback, Khuzaima. I’m glad you found this article helpful.

This is unhelpful propaganda. Brutal honesty is a kindness.

Hi ‘Irefuse’. ‘Brutal’ and ‘kindness’ are somewhat oxymorons. Calling an article about constructive critique with suggestions on ways to give it ‘propaganda’ is a STRETCH, though. I’m sorry you personally found it unhelpful, next time the constructive criticism would be suggesting ways to make it better, pinpointing the arguments or passages you took issue with and how they could be improved. I’m sure when you find the bravery to share work in the public domain you will have to deal with comments that only seek to tear down and label. Good luck when you do.

Jordan, most exalted kudos to you and your response to “Irefues”. I am not sure how anyone would or could find your article unhelpful unless they were not looking to get potentially useful information relating to critique about one’s own writings or how to give criticism to others on their writings. I will also say that your response was very professional and yet I sensed in your word usage and structure that it was meant as a zinger to illustrate very tactfully your last two statements. Brilliant. Thanks for your article and your response to those commenting on it.

Hi Michael, thank you very much. Everything from the username to the email given (which completed the phrase ‘I refuse to sign up’) had an aggressive/pointed streak which made it clear it was more of a trolling attempt to be unkind than serious critical engagement. I always say to writers it’s best to say ‘water off a duck’s back’ because trolls can be persistent, cruel, and vicious, and you don’t want a negative feedback pile-on or something more nefarious or ‘black hat’. That being said, this duck can be spicy, the water drying before it hits the ground 🙂 I try to turn rudeness/unkindness into a teachable moment (I think I bristled at the false accusation of producing ‘propaganda’ – a real nonsense), and I’m glad that came through. Thank you for reading our blog and I’m glad you found it helpful.

I am sorry but I misrepresented what I need from you. I am writing down information that is true and simply want a few adjustments made to what I wrote. It is not a novel but more of a report from one person to another.

Hi Susan, I don’t see any other communication (regarding what you said about a misrepresentation)? Perhaps you typed a comment on another article but it’s not showing for me. Are you looking for editing services (your reference to wanting adjustments made)? You can request a no-obligation editing quote via our editing services page .

This is clearly a much-needed article! I’m so glad it’s now linked in the feedback section. “Brutal honesty” means nothing in terms of improvement unless it comes with an acknowledgment of what was attempted and how to take next steps. The research is clear.

I really loved how you turned a negative comment on your own work into something that improved this article. Really good use of the examples– they helped strengthen the points about what good or bad feedback sounds like. I remember having a good friend who I shared my work with, and they dismissed it as “cheesy”. I knew they had good intentions and wanted me to improve, but the way they phrased it hurt me. This led me to question how I can share feedback to others without sounding hurtful like my friend. Thank you for this article. It helped me avoid mistakes I might have made.

Dear Mackey, Thanks for your comments on the blog. Yes there’s a way to give feedback that is constructive and helps you improve your writing. So pleased to hear that you have found it helpful.

Good article. There is an art and craft to this. One of the first ‘feedback templates’ I was ever introduced to asked 1) What was communicated? This question alone yields so much useful information to the writer because what they might want to say and do say are vastly divergent.

That’s an excellent question to ask about a piece of writing, Scott. Thanks so much for sharing it. And thanks for reading the blog.

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Peer Review

About this Strategy Guide

This strategy guide explains how you can employ peer review in your classroom, guiding students as they offer each other constructive feedback to improve their writing and communication skills.

Research Basis

Strategy in practice, related resources.

Peer review refers to the many ways in which students can share their creative work with peers for constructive feedback and then use this feedback to revise and improve their work. For the writing process, revision is as important as drafting, but students often feel they cannot let go of their original words. By keeping an audience in mind and participating in focused peer review interactions, students can offer productive feedback, accept constructive criticism, and master revision. This is true of other creative projects, such as class presentations, podcasts, or blogs. Online tools can also help to broaden the concept of “peers.” Real literacy happens in a community of people who can make meaningful connections. Peer review facilitates the type of social interaction and collaboration that is vital for student learning.

Peer review can be used for different class projects in a variety of ways:

Teach students to use these three steps to give peer feedback: Compliments, Suggestions, and Corrections (see the Peer Edit with Perfection! Handout ). Explain that starting with something positive makes the other person feel encouraged. You can also use Peer Edit With Perfection Tutorial to walk through the feedback process with your students.
Provide students with sentence starter templates, such as, “My favorite part was _________ because __________,” to guide students in offering different types of feedback. After they start with something positive, have students point out areas that could be improved in terms of content, style, voice, and clarity by using another sentence starter (“A suggestion I can offer for improvement is ___________.”). The peer editor can mark spelling and grammar errors directly on the piece of writing.
Teach students what constructive feedback means (providing feedback about areas that need improvement without criticizing the person). Feedback should be done in an analytical, kind way. Model this for students and ask them to try it. Show examples of vague feedback (“This should be more interesting.”) and clear feedback (“A description of the main character would help me to imagine him/her better.”), and have students point out which kind of feedback is most useful. The Peer Editing Guide offers general advice on how to listen to and receive feedback, as well as how to give it.
For younger students, explain that you need helpers, so you will show them how to be writing teachers for each other. Model peer review by reading a student’s piece aloud, then have him/her leave the room while you discuss with the rest of the class what questions you will ask to elicit more detail. Have the student return, and ask those questions. Model active listening by repeating what the student says in different words. For very young students, encourage them to share personal stories with the class through drawings before gradually writing their stories.
Create a chart and display it in the classroom so students can see the important steps of peer editing. For example, the steps might include: 1. Read the piece, 2. Say what you like about it, 3. Ask what the main idea is, 4. Listen, 5. Say “Add that, please” when you hear a good detail. For pre-writers, “Add that, please” might mean adding a detail to a picture. Make the chart gradually longer for subsequent sessions, and invite students to add dialogue to it based on what worked for them.
Incorporate ways in which students will review each other’s work when you plan projects. Take note of which students work well together during peer review sessions for future pairings. Consider having two peer review sessions for the same project to encourage more thought and several rounds of revision.
Have students review and comment on each other’s work online using Nicenet , a class blog, or class website.
Have students write a class book, then take turns bringing it home to read. Encourage them to discuss the writing process with their parents or guardians and explain how they offered constructive feedback to help their peers.

Using peer review strategies, your students can learn to reflect on their own work, self-edit, listen to their peers, and assist others with constructive feedback. By guiding peer editing, you will ensure that your students’ work reflects thoughtful revision.

Lesson Plans
Strategy Guides

Using a collaborative story written by students, the teacher leads a shared-revising activity to help students consider content when revising, with students participating in the marking of text revisions.

After analyzing Family Pictures/Cuadros de Familia by Carmen Lomas Garza, students create a class book with artwork and information about their ancestry, traditions, and recipes, followed by a potluck lunch.

Students are encouraged to understand a book that the teacher reads aloud to create a new ending for it using the writing process.

While drafting a literary analysis essay (or another type of argument) of their own, students work in pairs to investigate advice for writing conclusions and to analyze conclusions of sample essays. They then draft two conclusions for their essay, select one, and reflect on what they have learned through the process.

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Writing Tips

How to Handle Feedback on Creative Writing

4-minute read

19th December 2022

As much as we can benefit from it, receiving feedback on our creative writing can be challenging. After all, writing requires both courage and vulnerability. Getting readers’ reactions to our works-in-progress is valuable, but it requires extra bravery and vulnerability. In this post, we’ll go over how to handle feedback on your writing so that you can use it constructively.

Maybe you read your work aloud to a regular writing group, or perhaps you send a copy home with a fellow writer friend to review. In either situation, capturing the exact feedback you receive in writing is good for a few reasons:

● Taking notes captures a reliable record of the feedback. Heightened emotions (i.e., fear or excitement) can affect your real-time interpretation of the comments, and we all know that memory can play tricks on how we recall events. If comments are written down, we’re less likely to misinterpret them later.

● Scribbling down the feedback gives you, the writer, something to do while you’re in this delicate position of having your work reviewed.

Say “Thank You” (And Leave it at That)

Thanking your reviewer acknowledges the effort they’ve put into reading your work and sharing their impressions. Whether their comments are positive, negative, or somewhere in between, you may feel tempted to respond. But restraint is wise here. Going on the defensive, justifying your decisions, or worse, arguing with the responder is not only a waste of time, but it may also lead to future reviewers censoring valuable feedback.

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In some cases, those giving feedback may be fellow writers. Writers generally treat your work with the same care, honesty, and respect for the creative process that they’d like their own to be treated with. Of course, some are better at this than others; others are like bulls in a China shop, leaving you feeling as if you’ll never write again. In any case, feedback should never be seen as verbal abuse. If you feel a critique has strayed into a personal attack, it’s okay to indicate that you’ve heard enough.

Keep an Open Mind

Feedback is an opportunity to capture specific responses from real readers and learn which parts of your writing are coming through clearly and which parts need a different approach. We all have blind spots, and receiving feedback with an open mind can help you see your work in a new light. Sift through the readers’ comments with gratitude, consideration, and a healthy grain of salt. A one-off negative comment may reflect more about a particular reader than your work, but similar observations raised by four or five readers may indicate something you need to address. So, consider all your feedback, hold it lightly, keep what serves you, and let go of what doesn’t.

Remember Who’s Boss

Who’s in charge? You are – this is your creative work. It’s humble, wise, and gutsy to test it out in the real world. After all, writing is both solitary and social. Feedback is part of the process, and it can strengthen your writing. But ultimately, your goals are your own, and you make the final decisions. So, make sure you strike a balance between consulting others and trusting your own instincts.

Editing and Proofreading

Hopefully, these tips help you enjoy the process of receiving feedback on your creative writing while keeping feedback in its proper place. Once you’re satisfied with the ideas and content of your writing, you’ll be ready to tackle the editing and proofreading stages of getting your work into the world . Our professional editors are here to help. You can even submit a free sample of 500 words.

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How to Give and Take Better Writing Feedback

by Sue Weems | 40 comments

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A little over ten years ago, I had almost a decade of English teaching experience, a couple years paid freelance writing work, several creative writing university courses under my belt, and a few small publications in poetry and nonfiction. A friend’s mom, Mae,* had written a query letter for her second novel. She asked me to read it and give her some writing feedback. What could go wrong?

How to Give and Take Better Writing Feedback

When Mae asked, I had not attempted to write an entire novel or a query letter. I had read thousands of novels and a few letters, but I had not studied the structure and requirements of each. I assumed writing was writing. Surely with a degree in English and a little experience, I was qualified to give good feedback ?

Nope. Not even close.

When I Realized I Was Wrong

I didn’t know it until a few years later when I wrote two terrible novels and began researching how to write an effective query letter. I learned that both novel writing and query letters require a specific type of writing skill. One I had not mastered yet. I’m so sorry, Mae .

Yes, my grammar and sentence skills would serve me well, but great grammar does not inherently result in a great story. It enhances a story. It clarifies a query letter, but alone? It’s just grammar.

I read her letter, corrected a few grammar issues and then made several suggestions I hope she didn’t take. *hanging my head in shame*

Mae was so kind. She didn’t tell me I was a raving idiot who didn’t know what I was talking about. She had every right to, but she could probably tell I was full of myself instead of knowing what the form required.

What can we learn from my feedback gaffe? (Please tell me there is much to learn so my shame is not in vain.) Two lessons come to mind.

All Writing Is Not the Same

This is a terrible thing to realize. I can write a hundred-page-long literary analysis paper without blinking an eye, but I feel like a blithering idiot when I am trying to straighten out a plotline in fiction. It means I have to admit that I need to become the student again and again as I master different forms. I have to subject myself to the frustration of failure while I practice.

I have friends who are technical writers by day, pounding out thousands of words, but lament their lack of progress on the novel at night. “I’m a full-time writer!” they say. “This shouldn’t be so hard!”

Humility is the best place to begin. There is an old proverb that says, “You cannot learn if your mind (or ego) is already full.” When I thought I knew it all, I was actually limiting myself. When I finally admitted I didn’t have a clue how to write a novel or query, it led me to research. Research, practice, and feedback made me a stronger writer.

Four Things I Learned From Failing Mae

Be wise like Mae (not like me). Before you give or receive writing feedback , keep these four things in mind:

1. Know your genre and audience.

I failed Mae because I didn’t understand her genre or audience . What does a reader or editor in your genre expect?

2. Know your purpose.

If you know why you are writing, it makes the critiques easier to accept, and it can help you sift through the feedback for the most helpful bits.

3. Be specific about what you need.

If you are asking someone to read your work for the purpose of giving constructive feedback, ask for what you need. If Mae had asked me to check for comma usage, I might have been her hero (or not—I probably would have given the unhelpful feedback anyway—alas).

4. Smile and receive all feedback, but evaluate it against industry standards.

Every time I teach dialogue, I leave time for the inevitable argument over “said.” Students want to use all the words: muttered, squealed, yelled, exclaimed, replied, and so on (just like me when I began).

I get to tell them another embarrassing story. One time an editor marked my manuscript with “default to said—too many tags—looks amateur.” Ouch!

Instead of arguing with her, I looked it up. One search online confirmed the industry standards for my genre, and I began choosing my tags more carefully.

Give and Take Some Feedback This Week

Hopefully these tips will help you as you give and receive feedback. If you’ve been hiding your work in files and journals to avoid people like me, I understand (I hid my work once too).

But I also hope you’ll risk a little this week. Share your writing with someone who will cheer you on. If you are really brave, ask for some constructive feedback.

*Mae's name has been changed despite her innocence.

Do you have any tips for how to give good writing feedback? Let us know in the comments .

Today, you have two options.

Take fifteen minutes to write a short scene using the phrase, “But that’s not how you do it!” (Do I need to add my teacherly warning to the freshmen boys? Keep it clean enough to read to the principal and your mother. HA!)
Or, choose an excerpt from a work in progress.

Now, share your writing in the comments and ask for some specific writing feedback. Not sure what to ask? Here are some ideas:

“What tone is this scene setting?” “How vivid is my character?” “Am I using commas correctly here?” “Where did you have to reread for clarity?”

Leave feedback for your fellow writers so we can all practice giving and receiving feedback. And one more thing: if you give someone writing feedback in the comments, be gentle and highlight the positives, too.

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Sue Weems is a writer, teacher, and traveler with an advanced degree in (mostly fictional) revenge. When she’s not rationalizing her love for parentheses (and dramatic asides), she follows a sailor around the globe with their four children, two dogs, and an impossibly tall stack of books to read. You can read more of her writing tips on her website .

40 Comments

I learned this hard way in a critique group. Sometimes it’s worth it to get professional criticism. Writing advice is like anything else – you get what you pay for.

While I agree with the “get a pro” part, I’ve given a lot of free critique that fellow writers have appreciated. My theory is: when one writer learns the craft better, we all benefit, so let’s help each other. I don’t usually work on a whole novel, though, just try to give a few clear pointers for certain flaws that need to be fixed for a better story. I find “showing AND telling” a common error.

However, you expect pros to be trained and impartial so you put more weight in their advice. A friend or fellow writer may tell you exactly the same thing, but you might tell yourself she’s nit-picking or it’s just not her style. And a good friend is apt to understand just what you mean even though you haven’t said it clearly, so they won’t raise a red flag where there should be one.

I agree with Christine.

I host a monthly workshop specialising in speculative fiction. We have been very choosy about who gets to join (and who gets to remain). We expect certain standards in all critiquing.

But when one of my long-form works-in-progress approaches the point of being ready for submission, I will certainly obtain a professional appraisal. I suspect that, having obtained good advice from carefully chosen colleagues, the work of the appraiser will be lessened.

Definitely, before you publish get a pro. But a good critique group is worth it’s collective weight in gold. It’s finding one that’s the challenge though.

One way of doing that is, when you find a writing colleague or two you can trust, pair up with he or she. Run one-on-one workshops from your home. In our case, there was a seed group of three of us who all studied together in college.

Then as each one of you finds other good workshoppers, invite them to join you.

The group I am currently in started life in a local speculative fiction bookshop. When that bookshop went out of business, we started to hold our monthly meetings in my house. There are five of us now and we have gotten into each others’ workshopping groove. We understand each other and recognise the differences in what each one of us brings to the table.

Sometimes public libraries or bookshops are willing to offer space to workshops. Sometimes they’ll do so for free, or for some nominal charge. Free is good, but if it is a for-profit, be decent enough to give them some custom!

I have a fair number of books on my bookshelf I bought from that bookshop.

Julie, Feel your pain! I think we all learn it the hard way sooner or later. When I work with my students, I tell them to guard against a “know-it-all” or “fix-it-all” attitude (I usually outlaw the word “should” in early workshops). I wonder if it is because it is easier to explain how we would do it instead of asking thoughtful questions that would help the writer clarify it for himself. I have grown so much from the thoughtful comments of writing groups– sometimes my craft gets stronger, and sometimes my skin gets thicker! HA!

I agree though, there is definitely a time to pay for pro help, although even then, it is worth knowing how to engage the feedback you’ve paid for. Thanks so much for commenting.

What are your impressions of the emotion and characterization of this scene? I put the parts that are meant to be in italics between forward slashes for lack of any way to actually use italics.

Shikoba crept through Nilima cavern, a flashlight lighting the few feet around him in the otherwise pitch black. If he feared what might be lurking in the dark, it did not show on what little of his face could be seen. What the boy was doing so deep in the cavern alone, no one knew. Especially not his mother.

She was probably worried about him, Shikoba thought suddenly. A worry which would quickly turn furious once he returned safely home. If he returned safely home. He shuddered and pushed away the thought, creeping onwards.

With his free hand, Shikoba grasped the key on a string around his neck.

/It must be something grand,/ he thought. A thought he had been repeating as he crept through the dank, dark cavern. /Alone,/ brushed the edges of his mind. /Alone,/ it echoed, but he shoved it away uneasily.

For hours he shuffled through the dark, searching fruitlessly.

/What if nothing is there? What if he lied?/ Shikoba wondered. The possibility of it nearly made him furious. He had sneaked off after lunch during his mother’s afternoon nap and it was surely past midnight by now.

If there was nothing… Well, there was nothing he could do about it but suffer the punishment for sneaking off and worrying his mother. It’s not like he could return the key to its original owner. And anyway, he wouldn’t want to even if he could. It was too precious.

Just as his hope was waning and he had resigned himself to turning back if he found nothing in three minutes, Shikoba’s light twinkled off a wall looming ahead. Stopping, he aimed his flashlight higher and caught the rectangular shape of a doorframe. Shikoba grinned, this must be what he came for.

Eagerly he started toward it, abandoning his cautious creeping gate from before. If he tripped now, it would have been worth investigating that door.

/This is it, this is it, this is why he sent me!/ Shikoba sang in his mind, breaking into a jog halfway to the door from where he stood.

The answer to your question is, no, this doesn’t show much in the way of emotion or characterization.

Here’s the thing, emotion comes out of circumstances and there isn’t much in the way of THIS situation that is emotionally evocative. Boy in a cave finds a door.he was looking for. I’m curious what emotions you were going for?

So for example if you want to heighten the emotion sit him down for a second to rest AND DECIDE (see characterization below) whether or not to keep going, using the circumstances that 1) it’s been hours and nothing (frustration and foolishness and Oh yeah, that asswhooping that’s his just desserts) and 2) the flashlight flickers and he still needs it to get back

And characterization shows up in choices made under pressure. His choice to come isn’t on display here; it’s already been made. And we’re not privy (in this snippet) to why it might have been a difficult choice — which it isn’t my impression that it was.

Hope this helps,

Dey, Thank you. That helps a lot!

Alyssa, Bonus points for bravery in posting a work-in-progress. I’m rooting for this little treasure-hunter, although I’m wondering why he isn’t more frightened after hours of searching in the dark. I liked where he clutched the key like he was drawing resolve. His thoughts might grow more frantic as he looks. As Dey mentioned, more conflict would show the character and heighten the emotion– animals, other people or presence, getting lost, hunger, or any number of things would complicate his journey and force him to choose his path. Thanks for sharing and good luck!

I like that Sue includes what she likes, what works in her feedback

Firstly, please let me agree with Sue. Wonderful of you to post something from your work-in-progress.

I am with your character. Overall, I feel you are showing us a clear enough image of Shikoba, arousing empathy and care. Your character, tension and sense of place is working well, but did have one minor issue that is easily rectified:

“If he feared what might be lurking in the dark, it did not show on what little of his face could be seen.”

The problem I see is with: “…it did not show on what little of his face could be seen.”

This indicates that he is in fact being seen, but is that your intention?

From the overall feel of the piece, I sense not.

This is an easy-to-make mistake that I make all too often, but we do need to think through our descriptions!

Hopefully, I won’t have the same problem with the excerpt I’m going to post here once I have been through to see whether anyone else needs commentary.

Cheers, and keep it up!

I had the same “bump” with him being seen.

I don’t think that when I initially wrote that I did intend to imply he was being seen, but now, with a better sense of where the story is going and what he is actually looking for, I can say yes. This implication that he isn’t alone in Nilima cavern is both good and important.

“When I thought I knew it all, I was actually limiting myself. When I finally admitted I didn’t have a clue how to write a novel or query, it led me to research. Research, practice, and feedback made me a stronger writer.”

The most important point in a nutshell, as far as I’m concerned. *hangs head in shame* This has been my year for learning this exact lesson.

On an unrelated note, I think we are kindred spirits regarding your love for parenthetical remarks. 😉 I can’t believe I haven’t managed to use one yet in this comment!

(Wait, maybe that was one?)

Hi Randi! I seem to be learning this lesson over and over. There is so much to learn, and just when I seem to get a handle on something, I realize there is more to it. It’s not a bad position to be in, just frustrating sometimes. The main thing is we keep moving forward! (Always glad to meet another parenthetical enthusiast.) Thanks for reading.

“Humility is the best place to begin.” Excellent. I definitely relate, and actually learned to LOVE all the differences in writing that exist. It means there’s always more to explore in an art I love so much 🙂 One of the things that gets me is people assuming you know how to do a certain type of writing when anything suggestive of writing is in your job title. I faced somewhat of an identity crisis when I, a lover of creative writing, didn’t necessarily enjoy or nail copywriting at the start. Was equally as weird for me when I found I got real joy from technical writing—something I, a lover of creative writing, always assumed was boring . . . funny how that works.

Ariel, Love your attitude– I’ve been slowly learning copywriting this year, and it hasn’t been pretty. I think you nailed the reason why most people would like to write something, but so few actually finish their work. It’s because they expect to be good or enjoy the entire process from the get go, instead of realizing it is a process that can surprise us every step of the way. Appreciate you reading and commenting.

Please let know if the characters’ voices are authentic and where you had to reread for clarity. Authenticity and clarity are important to my writing.

“But that’s not how you do it!”

Every holiday dinner, we ask each grownup to share a favorite dish. My son and daughter don’t take the time to prepare their specialties at home. Sometimes they even ask me if I have the staple ingredients such as flour, salt and pepper or spices. I take a deep breath and don’t say “But that’s not how you do it!”

I get out the pans needed for their dishes, trying to anticipate how much time is needed so the entire meal will be on the table together. Extra spoons come out to the drawers for serving. Then we start the preparation together.

My daughter brings Grandma’s Creamed Spinach recipe and the boxes of frozen spinach. (I make mine with fresh greens.) She knows to use the large pot to cook the spinach first, then she drains it in a colander I provide. The sauce comes next.

Meanwhile my sister waltzes into my kitchen and hands me a grocery store wrapped bouquet of dyed mums and yellow roses. After thanking her, I try to find a vase tall enough to hold those expensive nuisances. (We already had a nice holiday floral arrangement ordered by my son-in-law. It is sitting prettily in the center of the perfectly set table.)

My children know “But that’s not how you do it!” as I have instructed them not to bring a bouquet to a busy hostess unless it is complete or you are planning to arrange it artfully at the house.

Meanwhile, it is time to help daughter make the cream sauce for the spinach. The greens are cooling in the sink and someone wants to wash their hands. (Don’t they know to use the utility or bathroom sink while we are getting dinner ready?) I whip the colander out of the sink and put it on the cutting board where the onions are sitting ready to be minced. Where is my daughter?

Of course, the kids of all ages have started a card game in the living room.

I chop the onions, start the olive oil and butter to heat up in the large pot after drying out the spinach water,

“No! Grandma’s recipe only uses butter, not olive oil!” Carol yells in my ear as she places her card hand face down on the wet counter where the spinach is dripping.

“Okay, it’s your specialty.”

“Mom, don’t you have regular flour, not this Wondra? I know you use it for the turkey gravy, but I need the kind Grandma used for this recipe,” my petulant girl reminds me.

I watch her add the onions, cooking them until they are almost translucent. Now I know she doesn’t need my help any more. I did notice she never properly drained the spinach pushing out the cooking water and capturing it in another receptacle as I would.

Lastly, I watch her add the flour and the milk and then the main ingredient. The combination is pasty and full of liquid. Even though I know “But that’s not how you do it,” I hold my tongue. It is her specialty, but whenever the whole family is together, there are distractions for all of us.

My son has just started to make the appetizer. “Mom, where is the big bowl to mix the guacamole?” My tongue hurts from all the pressure from my teeth, holding back the words on the tip—my brief advice is kept inside.

The words “But that’s not how you do it” will have to wait for another day.

I’m of mixed emotions and thoughts on this.

“Mae was so kind. She didn’t tell me I was a raving idiot who didn’t know what I was talking about.”

Should she have told you? Critiqued your critique as it were.

See I mean it when I say, I’m of mixed reactions to this.

I have deleted excellent (imho) feedback I’ve given to a writer who decided he wanted to “defend” his work to me. It pissed me the heck off to have the writer respond to me that he “knew” all the stuff I was telling him and that it didn’t really apply because (even though he had posted in a forum for feedback) it was just zero draft. To which I say bs; if he “knew” then he’d have done it.

On the other hand.

I have also received so much crappy advice. For example: I was told that the “Tone” of my story was off because two entirely different characters had two entirely different voices. Oh the horror! Seriously, I wanted to ask the critiquer what the heck? But how do you do that, tell someone they wasted their time and yours when they were doing you a courtesy?

*best paragraph deleted to be used elsewhere for better purpose*

Thanks for reading my vent.

I hear you, Dey. I meant that I think Mae handled it well and used what was useful and discarded the rest (I tend to use a bit of hyperbole– sorry if it didn’t come through clearly). I’ve been on the receiving end of those “defenses” as well. I wonder if they are just a coping mechanism because it is hard to hear criticism. I don’t know the answer. I do know that both giving and sifting through received feedback has made me a better writer because it forces me to know why I am discarding some advice. I don’t think it is always wasted time. Readers do the same thing in misreading work sometimes, so it is valuable to hear how others interpret what we write. I loved your *best paragraph deleted*… I hope I’ll run across it one day! Thanks for chiming in. I know many writers will resonate with your viewpoint here.

Dey, I recently had the experience of reviewing and editing a book. One piece of advice I gave, based on my experience with the content (it was non-fiction), turned out to be incorrect. I”m so glad the authors dug a bit deeper and asked me to do the same before they incorporated my advice into their book. None of us are infallible. It is so important to enter into dialog over any advice that seems not to be on target. All parties can then learn from the experience.

The following is the latest portion of one of my current works-in-progress. This is from Chapter 7 and shows a young character having to kill or be killed for the first time.

I am particularly interested in whether I have succeeded in showing the conflict her character feels.

ORANGE SUN CHAPTER 7: JOUST

The smaller deerpig bowed its head, cantering left then right. The sultry, alien air shimmered as the beast’s sonar blast struck its larger companion. The loser shuddered and struggled to get up, ribs protruding from its breast like some bizarre arrangement of flowers.

Presently, the victor turned to face Taryn. She stepped back, the gravwand suddenly heavy in her hand.

“Taryn,” screamed the Captain, “You must fire!”

The thick air grated on her throat as the young midshipman adjusted the weapon to Concussion Mode — Light. Surely pushing the animal away would be okay…

“May I too exist,” she muttered, “In order to live, in order to serve, in order to help dispel the miseries of the worlds…”

Midshipman Taryn Zoë Schacht felt, not heard, the crack of the beam as it violated the air before it. The air and the flesh. The deerpig blew asunder like so much smoke caught in a gust of wind.

Taryn’s gravwand struck the ground in time to collect her tears.

Davidh, Congrats on a scene full of conflict. You show the external conflict in the physical battle and then reveal the internal conflict through a few carefully placed details such as the heaviness of the wand and the catch in her throat. Depending on what comes before and after this, she’s had to make a choice that has cost her. Thanks so much for sharing a work in progress!

Thank you, Sue. I was concerned about that.

And yes, there are a number of things she’s had to deal with described in earlier scenes. This also foreshadows a later scene in which she must take command of a group of ratings (equivalent to ‘seamen’ or ‘able seamen’) and non-commissioned officers when large animals attack and start killing the crew.

You have this written in omni, where her actions and thoughts are explained to me (the reader). It’s very distant and not emotionally engaging. Words like sultry, presently, as the young midshipman, Midshipman Taryn Zoe Schacth felt, and the entire last sentence, serve to push reader out and away from the action.

So while there is life or death conflict, I’m not “feeling” it. The only phrasing that hints at all that she has a conflict with kill or be killed is the line “May I too exist…” but to my ear that sound like a colloquialism or prayer, rather than fear or regret or any particular emotional response.

If you want to show that the choice to kill is difficult for her, the reader needs to know why. Now this may be knowledge that was laid down prior, but it’s not on the “page” here. She doesn’t hesitate, or waffle or look to hide or any of the things I would expect a person to do if they were torn about doing something.

Thank you for this, Dey.

There has been a lot of set-up in earlier scenes, and you are right in that it is not on this page. Perhaps that was a problem with my choice of piece!

I think that is one problem with workshopping long-form fiction piece-by-piece.

You are also right to pick up on her prayer. It is a common Buddhist prayer, and her use of it is an attempt on her part to steady herself. It is also ironic given that the prayer is one that recognises the Buddhist notion that all sentient beings — including animals — are equal.

I will think about your suggestion on the use of the omniscient POV. I wanted to be able to show her attempted removal from emotion whilst simultaneously showing how hard it is for her. Further, as Taryn’s focus is on the deerpig and on her gravwand, I wanted a POV that would allow me to show the involvement of the Captain.

So thank you. You have given me an awful lot to consider. And that is always a wonderful thing!

This is my first post. I’m wondering if it is OK to use an overworked phrase as a jump-off point for my writing. I have found poetry easiest, but am trying other genres also.

Manly Men Manly men love trucks and cars and danger and lots of speed. They love the thrill of risky moves. It really seems a need.

Manly men are vulnerable when others take the lead. They’re threatened when they lose control. Leaders they are indeed.

Would it be better to title it “My Many Man” and make the appropriate changes? Would love to hear some feedback.

kudos for sharing poetry. Did you really mean “My Many Man” or did you intend it to say, “My Manly Man,” or “My Many Men?” “My Many Man” doesn’t appeal or make sense to me. I don’t have a problem with an overworked phrase or cliche as a title, but one needs to give new insight, a new perspective to a cliche or overworked phrase to make it really work. So that is my feedback on the questions you ask, and from Sue post here, I’ve learned to withhold other thoughts than what the writer has asked for. Thanks Sue!

I meant to say, “My Manly Man”. Thanks for the feedback. All comments are welcome.

Hi Barb, Thanks for sharing a work in progress. I like the hard strong sounds in the first stanza followed by the softer second stanza. I think overworked phrases can work if they are presented in unusual ways (as Sheila stated so well). Here it seems to reinforce the accepted meaning if I’m not mistaken. I’m wondering about the last two lines though and how they work with the established “manly men” from the first stanza. The opening seems to be in praise of them, but “they’re threatened when they lose control” seems to be a negative followed by “Leaders they are indeed”– I’m wondering if the last line is meant to be ironic (meaning they are not good leaders). Might be able to clarify with an image that shows what “lose control” looks like in this case? Thanks for being brave and sharing your work.

I belong to a writing group that has been meeting for years. We have very good guidelines for giving feedback, from which we sometimes stray. It does help immensely when someone ask for specific feedback, as Sue Weems suggests. But if we limit the request and that request is honored, we can miss feedback that might alert us to some major problem in the writing. Our guidelines for feedback are to say what our initial overall impression of the writing conveys, what feelings or images it left on us. And then back that up with specifics of language use in the writing that support our impressions. Finally we share any problems we had with the writing, shift of tense, word use that struck us wrong, chronology, etc. I once gave the feedback that a piece left me confused, and was informed that I was supposed to say what I liked about the piece. That was a flashback to when we had a formula we called a feedback sandwich where we said what we liked, what “bumped” us and possible fixes, and return to some form of encouragement for the writer. Some in our group felt that approach pulled punches and was a little too soft pedaling if writers were serious about their work. Sometimes people get too deep into the story or emotions of the story or express how they want more of one thing or another or even the direction they want the story to take. I prefer to stay with the writing as written, and state if it leaves me wanting or longing for something else, such as “I wanted to know more of the characters emotional reaction to the action,’ or I wanted to see more of the color and texture of the narrators experience.” But I think it’s important to be careful not to suggest direction for a piece. Often those giving feedback say they want to know this or that, want more detail, more information, more emotions. It is as if they want the writer to do all the work for them. I believe that the writer’s job is to stimulate the imagination of the reader, to write in such a way that the words evoke images, emotions, memories, identification, or curiosity in the reader, but not to literally answer every question the reader may have. I prefer to have something left to my imagination so that reading is more like have a conversationw ith the writier.

Sheila, Great point about missing feedback. In a well-established, safe group, I would feel more comfortable leaving it open to anything the group sees/questions. (Finding and maintaining such a group is an absolute treasure!) I wonder how many writers are in such well-managed, respectful groups? If a writer (especially a new writer) is not in an invested community like yours, getting feedback requires both guts and a little savvy to sift through what is helpful. I tend to think writers at all stages need and benefit from the positives and encouragement, as well as the questions and weaknesses a text raises. Thanks for sharing your group’s process! I use a similar one with my students, but I always love seeing how others are operating in effective ways. So appreciate you joining in this conversation. Sue

I run a small press ezine and try to leave personal feedback with every rejection. Usually it’s just two comments, first what they did well, and second, why I’m not accepting the story.

But for longer critiques, I find it most helpful to look at the big picture and note any glaring plot holes, unresolved problems, and what I would do to improve the story. I would stay away from correcting grammar errors or rewriting sentences.

I once has another writer “critique” one of my stories by simply rewriting the entire thing in his voice. Never do that 🙂

Jason, thanks for chiming in. What a gift to leave feedback with each rejection. So often it is a form letter. I completely agree with your comment on longer critiques. Donald Graves (a writing teacher) once shared a great analogy about writing and golf. He said when someone learns to play golf, the instructor will have the novice hit a bucket of balls. The instructor immediately sees a hundred things that are wrong– the grip, the back swing, the feet, etc, but a wise instructor also knows he can’t share all of them at once. So he points out one thing and has the golfer hit another bucket until that ONE thing is mastered. Then they move to the next thing. As a writing teacher, that resonated with me. Your advice to look at the big picture and choose the most glaring holes to address reminded me of Graves’ analogy. Thanks for reading and commenting.

Thanks for sharing. Great analogy.

Fantastic post, Sue. I have really enjoyed the discussion.

I loved the information in this article. As an editor, I look back at advice given in the early years and realize how “wrong” I was.

The writing prompt didn’t take me there – instead this emerged.

But That’s Not How You Do It

“You need to hold the screw driver straight – otherwise you will cross-thread it.” I thought I was holding it straight, after all I was the one on hands and knees replacing the metal cover over the motor on the back of the refrigerator. I swallowed those words and said only, “I think it is straight.” “Oh, get out of the way and I’ll do it.” I struggled to my feet and moved from in back of the refrigerator, knowing it was useless to protest.

Why was I the one trying to put the panel back in place? After two knee replacements, he has difficulty getting on hands and knees. I was so hoping the screw wouldn’t go in for him, but, of course, it did. Maybe I wasn’t looking at it as straight on as I thought I was.

I do know how frustrating it can be to watch someone complete a task the “wrong way,” while I know (as the observer) what should be done. Our roles switch when he is on the computer and asking me to “help” resolve a question. I so want to just ask him to move and let me do it – maybe next time I’ll try that and, if he protests, I’ll remind him of the “refrigerator job.” How many years does it take in a relationship to iron out these bumps? Or, is that not the point. Is it rather to learn to appreciate each other’s strengths – no matter how irritating they may be in the moment.

Hello Sue and hello everyone!

I have been reading the Write Practice e-mails and posts but I didn’t take the time and I didn’t really have the courage to post something,but since I have a story I’ve finished these days,I would love to share and receive some feedback. I have to mention,I am not a native speaker,I am a romanian who has been living in Chicago for one year now but who grew up singing songs in english :). I’ve been thinking for a while whether I should write in english or not knowing that there are so many words,idioms and language subtilities I don’t know yet and that writing requires a rich vocabulary.

But this is it, this is a piece of my 3 pages story that I wrote in english :).

“22 years old,life seemed good and steady.After graduating,Harmon got lucky, as others might say and found a job in sales and marketing assistance in a firm, he thaught that would bring him more money than writing and would give him the wild and glamorous life he dreamed about. It felt so right at the beginning, like he found a purpose,a new challenge, he would work hard and thrive and party on weekends in the blues bars of Chicago with his girlfriend and his colleagues,but lately he started to feel lost and sad,like everyday was the same, a race where he had to pull up the charts, to help the firm sale more and more products, fast and aggressively,things went south in the firm and he suddenly felt dispensable. Life has slipped by so quickly lately,not enough time to spend with the woman he loved,same routine every day,same charts,same questions,same doubts,same pain, it was like a weird dream repeating itself. Harmon woke up early in the morning, grabbed his coffee from Starbucks and then spent there nearly two hours studying products,numbers and ideas for the new campaign then he walked to the office unaware of his surroundings like the sea of people around him rushing as well to get to work,this was a regular day for him,until one Monday. Another Monday in Chicago, it was 9:20 am,as he was walking down the crowded Wacker street with the coffee in his hand he felt drained of energy,lifeless and conflicted,his thoughts were chaotic and his heart was in pain,the air was humid and heavy and the noyse of the city was nearly unbearable,he stopped at the red light,as he stood there waiting, a silhouette caught his attention, on his right at 10 feet away an old man with wore off clothes and weary eyes was combing his gray hair looking in a coffee shop window, his moves were slow and he looked like he was a homless person living on the streets of Chicago,he had two big bags at his feet as if they were all that he had. Harmon missed the green light as he was all of a sudden mesmerized,he hadn’t seen this man before,but he looked so familiar to him.”

This is a piece of my finished story that never got published (if you exclude the fact that I posted it on one of the sites available for reading to those who find it interesting).I would like an honest feedback about the feeling of this particular scene, the flow of it and the vividness.You can critique my grammar too since i’m not a native speaker. The story is about time travelling, particularly only male members of the family can do it and it’s carried through generations from father to son.This particular scene shows the main character’s condition after successfully travelling back in time to prevent his lover from getting murdered:

Seoul, sumer of 2016

He jerks up with a gasp. The rapid motion leaves him feeling as if he were drowning, managing to free himself seconds before he was suffocated for good.And it’s familiar, the relief that washes over him like a summer downpour, tense muscles relaxing, breaths evening out into a series of steady inhales and exhales. ‘I did it.’ The feeling of alleviation only warms him up more, reducing the dread that’s been crunching in his stomach nonstop. He blinks, shakes his head and checks the alarm clock on the bedside table.Dim light flickers through a slot on the door, reflecting against the digital device making the red numbers blink up at him. 1:31am With a sigh, he lets his fingers glide over the crumpled sheets, mind still slightly disoriented and detached from the surroundings.White fabric pulls over his flushed skin almost sensually making his body irrupt with goosebumps. ‘Wait.Flushed?’ He lifts the sheets from his lower body with a frown and…of course.Of course he’s naked.Why wouldn’t he be? He remembers this clearly since it hadn’t occurred a long time ago.And even if it had, he certainly wouldn’t be able to forget the feeling of smooth skin, as pale as the sheets, underneath his callused fingertips and all those erotic whispers against the shell of his ear.But more than anything else, he definitely wouldn’t be able to forget the overwhelming heat traveling through his veins like a drug, igniting every nerve in his body in flame. With one last distressed sigh, he tangles his hands into his hair, fingers digging into the scalp with a force to bruise. ‘This I can deal with.’ Physical pain he’d take anyday over this horrible ache that dissolves his heart to pieces as if poured over with acid. ‘But I did it.’ The realization clings to him like second skin, soft breeze from outside ruffling the strands of hair that have fallen into his eyes without him even noticing.

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How to Give Feedback on Fiction: A Guide for Readers

Crying Child: "But I can take constructive criticism on my fiction!"

It may also improve your love life. I’m not even joking. Ready?

Part A: How to give feedback

1. the shit sandwich.

The shit sandwich [i] is the most important tool you need to know when giving criticism. Praise – Critique – Praise. This works anywhere: office reviews, school reports, conversations with your lover, anywhere.

First, start by saying something positive. Anything positive. You can’t make something up (that would be cheating). But no matter how bad the story you must find something good to say. They are going to be nervous. If you don’t encourage them they won’t hear your feedback. They will only hear “oh my God I’m the worst writer ever and must destroy all I have ever written.” [ii]

Only once you’ve reassured them they don’t need to burn their computer and break all their fingers can you start talking about issues in the manuscript. In part B of this article you will find the key questions a story writer needs answered. Don’t be afraid to add a pickle – something you liked and why is always useful feedback [iii] . But try not to give more than two or three concise points. Any more than that will be ignored and forgotten, largely because by point three the writer will be in a desperate state of emotional shock.

Finally, finish the sandwich with more bread. The last thing you say should be something encouraging about a part you liked. “I could really see the street as you described it,” or “Jo-Bob is a really funny character,” or (in desperation) “this has really improved, you’re really growing as a writer.” Really, really. Then stop talking. Don’t say the “but” that is burning the back of your throat. Sit down, shut up, and let them cry for a bit. Possibly give them a hug.

The shit sandwich means that you always start and finish with praise. It is the single best way to ensure that someone takes your feedback on board. If all you do is give someone shit then you aren’t helping, you’re picking a fight. [iv]

2. Identify problems not solutions.

It is the writer’s job to fix the problems in the story. Your idea that the secretary could secretly be a super-agent? I’m sorry, but it’s shit. It might work in your story, but this isn’t your story. You think she should turn around at the end and say “But seriously, Dr Jones, it was the butler what done it?” Keep the thought to yourself. It doesn’t help.

Any story is a vastly complicated web of threads that are locked up tight in the writer’s head. Even if you are a writer yourself, you can’t see the whole picture. Worse yet, if they do use your idea, they aren’t writing their own story any more. They will lose impetus, emotion and truth.

Keep your solutions to yourself, no matter how tempting. Writer’s solve problems. Your job is to help them see the problems they have missed.

3. Address specific questions.

This may sound obvious, but if the writer has asked you to look at a specific part, then make sure you answer their question. I generally plan notes in writing when I’m giving feedback, and I like to write out any questions they asked as the first bullet points.

It is deeply frustrating when you ask a reader if they understand what is happening in the fight scene on page two and they reply that the medieval castle on page one wouldn’t really look like that. That might be useful to know, and if you have time to mention that at the end I’ll probably appreciate it, but for the moment can we please check you know who stabbed who?

4. You are not a copy-editor.

Unless they have asked you to analyse for spelling and grammar, don’t waste time on spelling and grammar. If you feel so compelled, then do note mistakes on the transcript. But that sentence you spent half-an-hour trying to fix for mismatching pronouns? It’ll only end up getting cut and replaced with another error-laden sentence. You are wasting time and one of your precious two or three points. A developmental edit is all about story. Leave the copy-editing for the final draft (and a copy-editor [v] ).

Part B: The Shit in the Sandwich: What questions does a fiction writer really need answering?

This part is a crib sheet for the most important questions that a writer needs answering. You should note answers to these questions on the manuscript, and pick the most important two or three to talk about.

These are not the only questions a writer may have. I’ve done readings for jokes, or for dialogue rhythm, hell, I’ve done readings for name consistency. See rule 3 above: if the writer wants to know if the assonance in the protagonist’s big speech is working, that’s what you should talk about.

But for general feedback on a story, try answering some of these questions. If it looks like too many questions, then the questions at the top of the crib sheet are the most important.

There are three things I want to highlight from this list:

First: The most important thing in any story is that you can tell what is happening. Nothing else will work if you can’t make sense of the words on the page. The story is obvious to the writer, so sometimes they can’t see when it is confusing for a reader. You must tell them. Sometimes it is good to be confused, but as a reader you can usually tell the difference between an intriguing mystery and just having no bloody idea what is going on [vi] .

Second: There is no feedback point for “this is bad.” Try as much as possible to stick with “this didn’t work for me” and similar. You are, on occasion, going to read some catastrophically bad writing. If you start soft you can go hard later, but if you start off with “this is bad” then you have nowhere to go when they start ripping the manuscript to shreds and cutting their wrists on the sharp edges.

Third: The list is probably too long for a reader to take all of it in. Concentrate on “I don’t understand this, I like this, I’m not sure about this.” If the other points crop up, that’s great, but don’t panic!

Part C: Why are we giving feedback?

Writing a story is a big deal, and sharing a story is an act of trust. You have a responsibility as a reader to think about what you want to achieve with your feedback. Is this a first-time writer that needs to be encouraged? A screenwriter who is blocked on their first novel draft? An experienced author who is experimenting with a genre shift?

Don’t give feedback that is destructive to your objective. I don’t care how right you are. Don’t give feedback that is destructive to your objective!

A young first-timer doesn’t need to know their protagonist is a great big cliché – they need to write another thousand stories before they get good anyway, so give them feedback that keeps them writing. Someone who is blocked doesn’t need to be told to redraft their opening paragraph – they need inspiring past that blank page and reminding what was exciting about the story in the first place.

You should always ask the writer what sort of feedback they want, and why. With a bit of luck this will lead to some specific questions. Most of the time it will result in embarrassed muttering. Hopefully you will get an idea of where they are (1 st draft, later edits, just about to be submitted) and what they want to achieve (fun, personal development, competition, publication).

If you become the sort of reader who talks about what they do and don’t understand, highlights the bits that they enjoyed and those they found uncomfortable, and wraps it all up in kind comments, writers everywhere love you, buy you drinks, and harass you to read their work [vii] . But always remember that you aren’t writing their story. You are helping them write their story. Say things that help.

[i] Credit for this term is due to the Royal Navy. The wonderful things one learns in officer training!

[ii] It is worth noting that some writers are not desperately anxious about their writing and will not respond like this. In my experience this means one of two things. Either, a) they are bad writers who don’t think enough about their writing. In which case you should stick with the shit sandwich because it is still the best chance of getting them to listen. Or, b) they don’t respect you enough to care about your feedback. There is a high level of correlation between b) and a). Funny that. If this is a case of b) they don’t respect you enough to be anxious, well, frankly, fuck them. Give them the shit direct and maybe you can shock them into caring. Or don’t bother, as if they don’t respect you they aren’t worth the effort. There are far too many want-to-be writers out there who have no interest in actual feedback. Why waste your time on them?

[iii] Why does the writer need to know about the good stuff? The obvious answer is that it stops them from cutting themselves, which is nice. More importantly (because those stupid writers love the pain anyway), by the time you get to your four-hundredth draft you can’t tell what is good and what is not. Telling me you really enjoyed the fart joke on page 4 stops me from cutting it and encourages me to write more fart jokes. Comments about Toby Frost ’s epic books of dick innuendo would be entirely appropriate here.

[iv] You are trying to help, aren’t you? No? Ok, if you want to fuck with a writer, try one of these: 1) “You know, this is just like [insert other recently published book here.]” 2) “You know, what would really help is [insert utterly random plot twist, possibly involving aliens, that you talk about for an hour and would involve totally re-writing the story]”

[v] What’s that you say? You are a copy-editor? Nope, not today you aren’t. Besides, isn’t it nice just to think about story for a change? Of course, this doesn’t count if they’ve given you a manuscript and said “can you check this for spelling and grammar.” Congratulations! You are now a copy-editor! Good luck with that…

[vi] One makes you go “mmmmm….” and the other makes you go “ga dah bah?!”

[vii] Which is a good thing, right?

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Writing Feedback: An Actual Sample of Comments

The sample writing feedback here is an abbreviated version of a manuscript evaluation, printed with permission of the author, but with the character names and some other revealing details removed to maintain the author's privacy. A full evaluation normally consists of roughly 6 to 10 pages of writing feedback.

i. General writing Feedback

I imagine that you poured your soul into the writing of this piece, and the authenticity shows. You provide a gratifying social context that illustrates both the sad reality of young people forced by events to live in an environment of fear, and also the disquieting vulnerability of expatriate life in another country during a time of political unrest.

Your writing is accomplished and I found your story both moving and fascinating. The protagonist, possibly still somewhat roughly drawn at this point, manages nevertheless to create a strong impression.

At no point did I find him unbelievable, and I found myself rooting for him whenever he encountered any opposition. You handled the dialogue well, and you used speaker attributions sparingly and with skill, while also managing to write natural-sounding dialogue.

You demonstrate Character A's strength well, through both actions and dialogue.

The story could, however, be enhanced through deeper characterization, and by creating more tension throughout the story. As the narrative is not plot oriented and has no strong story question (something we can work on), increased tension in the writing will help to pull readers forward all the way through to the end.

II. Content

A. Organization

The writing loosely follows a conventional short story structure, but the focus is on character more than on plot. Nevertheless, you have unified the elements through the use of the school year, and through your characters [called A, B, & C to preserve the author's privacy].

The result is what editors call a "quiet" story, which really means that there is not much plot activity, though the hockey game provides good potential.

This quietness is unlikely to cause literary editors a problem, as long as you have very compelling characters, which you do. However, you could strengthen the story by introducing more conflict and tension between the characters.

The hockey game strikes me as a missed opportunity because you could crank up the tension in the game, and do slightly more with the dodgy win that A orchestrates when he gets the goalie disqualified.

The trouble at the end of the story will have more impact if you highlight that action. Don't overdo it, but readers need to experience A's elation with the win to feel the corresponding disappointment when B doesn't acknowledge him after the game.

I also wonder if you might introduce B and his motivation earlier in the story. He comes in on page five now, and you will create a unifying effect if you introduce him around the same time you have A in a hockey meeting on 9/11.

B. Characterization

You've done a fine job with characterization so far, but you could do more. A and C stand out as memorable characters, but too much about them is told in summaries of their action, rather than shown.

If readers experience more of the sensory details as the characters experience them, the characters will be more compelling. Also, character B gets a bit lost in the story. Part of the problem with B is that readers may be confused about who he is.

Is he the chemistry professor? If so, shouldn't you call him Professor B? For too long I wondered if he was the third rate player (mentioned only once) who now owns a store. Much later in the story, I learned that man is the unnamed coach.

For better clarity, all the characters need names, so unless you have a good reason not to, make it clear the first time you mention the third rate player that he coaches. Once that is all cleared up, Professor B will seem to play a larger role, and indeed can play an even larger one if you show what is currently told in summary.

C. Dialogue

You don't use much dialogue in this story, but when you do, it is crisp and authentic.

You have chosen to summarize, rather than to show through dialogue, and the story would benefit more if you reversed the current balance so you have more dialogue and only occasional summary. Please see where I have provided examples of how you might do this in the margins of your story.

You also write strong internalizations or inner monologues, which are and interest and depth to the characters. However, consider changing how you introduce these internalizations. I've demonstrated this in marginal comments in the text, but you needn't write: A wondered if he'd want to go to college in the U.S., given the opportunity, or if he would prefer to go back to Canada.

That tells the reader what A thinks, when you might instead give readers access to the thoughts themselves.

The immediacy of that approach will add power to the piece and is in keeping with the third person limited POV. So the old adage s how, don't tell applies here . For example, you might get the same thought across more directly by writing something like: Did he want to go to the outside college? Probably not. Not even if it meant a hockey scholarship. Not even if his parents thought he should. Especially if they thought he should.

Where you do show character thoughts, you sometimes put them in quotation marks. This is unnecessary. (Quotation marks are reserved for dialogue, so don't use them when characters are only thinking.)

The setting is largely missing in this story. I recall only the description of the ice rink, with its wall of tall glass windows. You could do much more with this. Before you do, ask yourself what mood you wish to get across. Fear? Inner turmoil? Or vulnerability? Whichever fits, make your setting contribute to that overall feeling.

For example, if you wish to convey fear, you might place shadows, have dark corners, or creaking floors, anything that will contribute to an atmosphere of fear. You might have him park around back where everything is eerie, rather than in front of the rink, where the bright lights feel safer.

To portray vulnerability, brainstorm fresh ideas. Solitary items may suggest vulnerability, in certain circumstances. Someone staring him down while simultaneously crushing a soft drink can might suggest vulnerability, as might the big empty rink, or wide, barren fields.

Much of the story focuses around the hockey rink, so I found myself wanting a sense of the effect the rink has on the characters.

E. Believability and Research

I never once questioned the authenticity of the story. All the historical details feel right, and the characters respond to each other in believable ways.

The ending is rather abrupt, however, and I am surprised when A says B knows "dick" about hockey, as A has not come across as an angry person anywhere else in the story. Still, just as when he says he doesn't care about the war, his response is entirely appropriate in the situation, and here it serves to remind readers that he is only seventeen.

F. Point of View

The POV is one element that is inconsistent. Initially, I believed you wished to write in the third person limited POV, limited to everything A experienced or thought.

Then, with the introduction of this line: "He had an uncanny ability to produce only sufficient marks to ensure his freedom to play ball hockey after school," I believed you wanted to write in the omniscient POV, with an external narrator, as A would not think of himself as having "an uncanny ability."

The summary also suggests an omniscient third person narrator. However, in other places in the narrative A, or occasionally C, tells the story from a personal perspective.

To correct this, make a conscious decision about which POV you will use, and work to remain consistently in that perspective.

G. Topicality

This story is particularly topical at the moment, and you handled the subject matter well with C, who is at first supportive, but toward the end seems more suspicious and confrontational with A.

The themes of the story—struggle, nationalism, fitting in, living in fear—all of these are archetypal in nature and always of interest. Many students have similar experiences today.

My one caution here is to decide what you want readers to take from this story. A conventional plot structure arranges the story events so the reader sees, through the setup, the story world in its normal state first. Then something happens to change that status quo and present a problem that the character, with difficulty, sets about trying to right. Before he rights his world, he experiences many complications that thwart his attempts to get back to normal. Then, when something big happens to test him, he must act. This action leads to the resolution of the problem, either to his satisfaction or not.

Considering these conventions may help you determine what would make the purpose of this story clearer. In the conventional narrative, when things go awry initially, and the character makes some decision about how to right his world, it is that decision that creates a story question. If A decides he wants to prove himself as a hockey star, then the story question becomes, "will A succeed and become a star?"

Of course the question is often much subtler than this, but readers need something to wonder about. If you don't give them that, you have to give them something else to draw them through the story. So the events you have chosen, and the ubiquitous nature of hockey in Canada, make good choices, as they tap into cultural interests. And you pull it off. The story is indeed engaging and worthwhile reading.

III. Writing

A. Technical Ability

You exhibit much technical proficiency, as outlined above, and you use the elements of fiction to advantage except where noted. In particular, more tension may be necessary. But you write strong scenes, dialogue is captivating and believable, and themes are strong,

Your writing style is accomplished. The characters are all easily distinguishable, every one different from the others. The overall voice of the narrator is unique and draws readers in. Sentences are varied in length and appropriately short or long for effect. The writing is lively and fresh. You use no cliches or archaic phrases. In short, this story is very well written.

My only stylistic concern is that you write somewhat passively, so this "telling" may be better rewritten to make the language more active. I have noted many places in the text where you might work on that, and provided examples where I thought they would help. You use language skillfully and have no grammatical concerns, so if you focus on showing rather than telling, your style will be even more engaging and readable than it already is.

IV. What to do

To recap, you will most improve the story if you give the following areas priority:

Rewrite to "show" rather than summarize so readers can have the same sensory and emotional experience the character would have
Expand your characterization by putting characters in situations where they must react, and then show that reaction
Make the protagonist's purpose clearer
Add a new layer of meaning to the story by detailing the setting

This process of evaluating your writing necessarily focuses on suggestions for improvement, but I hope my writing feedback also reflects how much I enjoyed this piece.

I admire your ability. You managed the narrative well, with great subtlety. The story made me think, and your characters remain with me, particularly C, as you gave him such an interesting quality by making him a devil's advocate and by having him turn or change slightly at the end.

I wish you much success in your rewrite, and in further writing, and I hope this feedback provide ideas that spark your creativity.

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SHORT STORY ANTHOLOGY

Scoring Creativity: Decoding the Rubric for Creative Writing

My name is Debbie, and I am passionate about developing a love for the written word and planting a seed that will grow into a powerful voice that can inspire many.

Scoring Creativity: Decoding the Rubric for Creative Writing

Picture this: a blank page, waiting eagerly for you to fill it with words, with ideas, with a world of your very own creation. Whether you’re a seasoned wordsmith or just beginning to dip your toes into the vast ocean of creative writing, there’s no denying the thrill and challenge that comes with transforming a nebulous concept into a tangible piece of art. But how do we measure this artistry? How can we capture the essence of creativity and quantify it in a way that not only recognizes talent but also provides valuable feedback for improvement? Enter the rubric for creative writing – a powerful tool that unlocks the secrets to scoring creativity. In this article, we will embark on a journey to decode this mysterious rubric, demystifying its components and shedding light on how it can elevate your writing to new heights. So, grab your favorite pen and get ready to uncover the hidden treasures within the intricate world of scoring creativity.

Key Elements of a Rubric for Creative Writing

Understanding the purpose and structure of the rubric, evaluating creativity and originality, exploring language use and style, assessing organization and structure, analyzing grammar and mechanics in creative writing, providing constructive feedback to foster growth and improvement, frequently asked questions, to conclude.

When assessing creative writing assignments, it is important to have a rubric that emphasizes the unique aspects of this genre. A well-structured rubric not only helps evaluate students’ work objectively but also provides clear guidelines for improvement. Here are the key elements to consider when creating an effective rubric for creative writing:

Originality: Successful creative writing demonstrates a unique and imaginative approach. A rubric should prioritize originality, encouraging students to think outside the box and avoid clichés or common themes.
Engagement: A captivating story or piece of creative writing should engage the reader from beginning to end. Assessing how well a piece holds the reader’s interest, creates emotional connections, or sparks curiosity is crucial in evaluating a student’s work.
Structure and Organization: Despite its imaginative nature, creative writing should still exhibit a well-structured and organized composition. A rubric should consider the coherence of ideas, logical progression, and the use of literary devices to enhance the overall structure.

Moreover, a rubric for creative writing should not only focus on the final product but also evaluate the writing process. By considering these key elements, educators can provide meaningful feedback and empower students to develop their creativity and refine their writing skills. Remember that a well-crafted rubric not only provides a clear assessment framework but also encourages students to unleash their creativity and storytelling abilities, fostering growth and improvement.

The rubric is a valuable tool that helps teachers assess student work based on specific criteria. It provides a clear outline of expectations, allowing both teachers and students to understand the purpose and structure of the assessment. By breaking down the assignment into different categories and levels of achievement, the rubric ensures fairness and consistency in evaluating student performance.

The structure of a rubric typically includes criteria, descriptors, and levels of achievement. The criteria outline the specific skills, knowledge, or qualities that students are expected to demonstrate in their work. Descriptors provide detailed explanations or examples of what each level represents, helping students understand what is required to achieve a certain grade. These levels of achievement can be presented in different ways, such as a numerical scale, a letter grade, or even descriptive phrases.

A rubric allows teachers to provide constructive feedback in a clear and organized manner. Students can easily identify areas where they excel and areas that need improvement, enabling them to focus on specific skills and make progress.
By , students can effectively plan and organize their work. They can align their efforts with the criteria outlined in the rubric, ensuring that they address all the required components and meet the expectations set by the teacher.
Rubrics promote transparency in assessment as the criteria and expectations are clearly communicated to both teachers and students. This transparency fosters trust and facilitates meaningful discussions about student performance and progress.

Overall, the rubric serves as a valuable tool for guiding and evaluating student work. Understanding its purpose and structure enhances communication, supports effective teaching, and empowers students to take ownership of their learning.

When it comes to , it’s essential to approach the process with an open mind and a willingness to explore new perspectives. In today’s fast-paced world , where innovation is key, acknowledging and celebrating these qualities can lead to breakthrough ideas and solutions in various fields. So, how can we effectively assess creativity and originality? Let’s dive in:

Embrace diverse thinking: Creativity is not limited to a specific domain or a particular way of thinking. Encouraging diverse perspectives and welcoming ideas from various backgrounds fosters a rich and fertile ground for innovative thinking. By giving space for unconventional thoughts and perspectives, we can unearth hidden gems of creativity.
Value experimentation: Creativity often thrives through experimentation. Encouraging individuals to try new approaches, take calculated risks, and test unconventional ideas can yield unexpected and groundbreaking results. Acknowledging the value of experimentation creates an environment that supports and nurtures creativity and originality.
Promote a learning mindset: Creativity flourishes when individuals have a growth mindset and embrace continuous learning. Providing opportunities for personal and professional development, promoting curiosity, and supporting ongoing education empowers individuals to expand their horizons and think creatively in their respective fields.

Creativity and originality are invaluable assets in our ever-evolving world. By adopting an inclusive and open-minded approach, embracing experimentation, and promoting a culture of ongoing learning, we can create an environment that nurtures and celebrates innovative thinking. Let’s remember, true creativity knows no boundaries!

Language use and style are essential aspects of effective communication. They play a vital role in conveying meaning, eliciting emotions, and engaging the audience. By exploring different language use and styles, we can enhance our writing, speaking, and overall communication skills.

One fascinating aspect of language use is the choice of words and phrases. The words we select can shape the tone and mood of our message. For instance, using vibrant and descriptive language can paint a vivid picture in the reader’s mind, while using technical jargon may be more suitable for specialized audiences. It’s important to consider the impact of our word choices to ensure clarity and precision.

Metaphors and Similes: These literary devices can add depth and creativity to our language use. They help us explain complex concepts by drawing comparisons to more familiar objects or actions.
Analogies: Analogies are useful for making abstract ideas more tangible and relatable. By likening a new concept to something familiar, we help our audience better grasp the subject matter.
Rhetorical Devices: Rhetorical devices, such as alliteration, repetition, and parallelism, add rhythm and emphasis to our writing. They can make our message more memorable and persuasive.

Additionally, understanding different writing and speaking styles allows us to adapt our communication to different contexts and audiences. From formal and academic writing to casual and conversational tones, each style serves its purpose. Adapting our style based on the audience’s expectations can build rapport and improve their overall experience with our message.

By continually , we can cultivate our communication skills and become more effective storytellers. Experimenting with different techniques and styles helps us discover our unique voice and develop a versatile approach to communication.

When evaluating an organization’s effectiveness, one key aspect to consider is its organization and structure. A well-organized and efficiently structured organization can greatly contribute to its overall success and productivity. Here are some factors to assess when evaluating an organization’s organization and structure:

Clarity of Roles: It is crucial for all team members to have a clear understanding of their roles and responsibilities within the organization. This ensures that tasks are properly allocated and promotes accountability.
Communication Channels: A strong organization fosters effective communication channels, both vertically and horizontally. Transparent and open lines of communication facilitate the flow of information, enhance collaboration, and minimize misunderstandings.
Efficiency of Workflow: A well-structured organization streamlines workflow processes, reducing unnecessary delays and optimizing efficiency. Assessing how tasks are assigned and how information flows within the organization can help identify areas for improvement.

Furthermore, a clear hierarchy within an organization ensures that individuals and teams know whom to report to and seek guidance from. Roles such as managers, supervisors, and team leaders establish an accountability structure that promotes effective decision-making and problem-solving. Additionally, an organization’s structure should allow for flexibility and adaptability to meet changing business needs and respond to unforeseen challenges.

Analyzing Grammar and Mechanics in Creative Writing

Understanding and perfecting grammar and mechanics in creative writing can greatly enhance the overall quality of your work. While creative writing is often seen as free-flowing and expressive, paying attention to the technical aspects can make a huge difference in how your message is conveyed.

To start analyzing grammar and mechanics in your creative writing, consider the following tips:

Grammar Mastery: Develop a strong foundation in grammar rules, including verb tense, subject-verb agreement , and punctuation. This ensures that your writing flows smoothly and is easily understood by your readers.
Consistent Voice: Maintain a consistent narrative voice throughout your piece. Whether it’s first-person, third-person limited, or omniscient, clarity in voicing will prevent confusion and keep your readers engaged.

Furthermore, it’s important to recognize the power of effective mechanics in creative writing. Here are some key aspects to consider:

Punctuation and Sentence Structure: Experiment with different sentence lengths and punctuation marks to create a rhythmic flow in your writing. This can add variety and help maintain the reader’s interest.
Word Choice: Be conscious of the words you use and their impact on the overall tone and mood of your writing. Employing descriptive and vibrant vocabulary can bring your story to life and captivate your audience.

By paying attention to grammar and mechanics in creative writing, you can effectively convey your message while showcasing your artistry and maintaining the reader’s attention. Embrace these techniques and watch your writing soar to new heights!

Constructive feedback plays a critical role in helping individuals and teams reach their full potential. However, giving feedback in a manner that encourages growth and improvement can be challenging. By following a few key principles, you can provide feedback that is both effective and supportive.

Focus on specific behaviors: When offering feedback, it is important to pinpoint the specific behaviors or actions that need improvement. By being specific, you can help the recipient understand exactly what they can do differently.
Use the sandwich technique: One way to make feedback more constructive is to employ the sandwich technique. Begin with positive reinforcement, then offer areas for improvement, and finally end on a positive note. This approach helps maintain a healthy balance and ensures that the feedback is not overly critical.
Be objective and avoid personal attacks: Feedback should always be objective and focused on the task or behavior at hand. Avoid making it personal or attacking the individual’s character. By staying objective, you can keep the conversation focused on growth and improvement.

Moreover, when providing feedback, it is essential to be empathetic and understanding. Put yourself in the recipient’s shoes and try to see things from their perspective. This will help you deliver feedback with empathy, making it easier for the recipient to accept and act upon.

Q: What is creative writing?

A: Creative writing is a form of artistic expression that involves crafting original stories, poems, plays, and other literary works. It allows writers to explore their imagination and unique perspectives through compelling narratives or evocative language.

Q: Why is creative writing important and worth assessing?

A: Creative writing enhances critical thinking, communication skills, and imagination. Assessing creative writing helps recognize and develop the writer’s ability to effectively express ideas, emotions, and experiences. It also promotes individuality, literary analysis, and cultural exchange.

Q: What is a rubric for creative writing?

A: A rubric for creative writing is a scoring tool used to assess and evaluate written works based on specific criteria. It outlines the expectations and benchmarks for various aspects of the writing, such as plot development, characterization, language use, and overall impact. A rubric provides a standardized and transparent evaluation process.

Q: What are the main components of a rubric for creative writing?

A: The components may vary depending on the purpose and level of assessment, but common elements include plot and structure, character development, language and style, creativity, originality, and overall impact. Each component is further divided into specific criteria and assigned different levels of proficiency, usually represented by descriptive statements and corresponding scores.

Q: How does a rubric help both teachers and students in evaluating creative writing?

A: Rubrics provide clear expectations and guidelines for both teachers and students. For teachers, it offers a systematic and consistent method of evaluation, reducing potential bias. Students benefit from the rubric by understanding the grading criteria in advance, which enables them to focus on specific areas of improvement and self-assessment. It promotes a fair and transparent assessment process.

Q: How can a rubric be used to provide constructive feedback?

A: A rubric allows teachers to provide specific feedback based on established criteria, highlighting both strengths and areas for improvement. By referring to the rubric, teachers can offer targeted suggestions to enhance plot development, character portrayal, language use, or creativity in the student’s writing. This feedback helps students understand their progress and areas where they need more practice, leading to growth as writers.

Q: Can a rubric be adjusted or personalized for specific writing assignments or student needs?

A: Yes, rubrics can be modified based on the specific assignment requirements, classroom objectives, or individual student needs. Teachers may adapt the rubric to address unique elements or emphasize particular writing skills relevant to the assignment or curriculum. Personalization enables a more tailored, meaningful assessment and supports the diverse needs and strengths of students.

Q: How can students use rubrics to improve their creative writing skills?

A: Students can refer to the rubric before, during, and after writing to ensure their work meets specific criteria and expectations. By analyzing the rubric, they can identify areas that need improvement and focus their efforts accordingly. Frequent self-assessment using the rubric can ultimately help students achieve a higher level of proficiency in creative writing and guide their growth as competent writers.

Q: Are rubrics the only way to evaluate creative writing?

A: While rubrics provide a structured and objective evaluation method, they are not the only way to assess creative writing. Other assessment tools, such as teacher feedback, conferences, peer reviews, and portfolio assessments, can also complement rubrics and provide a more holistic evaluation of a student’s writing skills. It is crucial to employ multiple evaluation methods to obtain a comprehensive view of a writer’s abilities.

In conclusion, understanding the rubric for creative writing can help writers enhance their skills and meet the criteria for scoring creativity.

Escaping the Rut: How to Get Away From Writer’s Block

Mastering Creativity: Writers Block: How to Overcome

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How to Give and Receive Feedback About Creative Work

Spencer Harrison

It requires a special approach.

When it comes to creative projects, giving and receiving feedback in a way that’s actually productive can be tricky. In this piece, the author offers two research-backed suggestions: First, ask for broad feedback out of curiosity around how you can improve. Second, offer feedback based on subjectivity. Importantly, managers need to understand that their opinions provide only potential trajectories a creative worker might try — not the “right” road to take. With these guidelines, both managers and their employees can improve process of sharing feedback on creative endeavors.

Feedback is crucial for learning and improving, but it’s rarely fun to be on the receiving end of it when it’s critical. Many people have a negative reaction to feedback, especially feedback on their creative work. In a study of seven companies and 11,471 days of creative work, researchers found two striking patterns: First, getting feedback was incredibly rare, indicating that people seemed to avoid it; and second, when people did receive feedback, it generally left a negative emotional residue.

SH Spencer Harrison is an associate professor of organizational behavior at INSEAD. He grew up drawing cartoons, invents stories for his kids, likes using the word “puzzle” as a verb, and researches creativity and how people connect to their work. You can follow him on Linkedin @curiosityatwork.

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Giving Effective Feedback to Creative Writers
Writing Workshop Feedback Forms by Kelly Love
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Year 7 Creative Writing Feedback Sheet
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Giving Effective Feedback to Creative Writers
Sample from these steps to make your own workflow. 1. Centered around the purpose of the feedback at hand, create your plan. 2. Set aside an appropriately sized amount of time. If your plan will require multiple sittings, go ahead and schedule these out on your calendar, so time doesn't get away from you.
How to Give Constructive Feedback to Creative Writing
This is a kind of constructive feedback students love to hate (because it makes them think ). I ask my students to respond and revise. This strategy rocks because it establishes feedback as a two-way conversation rather than a one-way lecture. ️ Have students direct your feedback by asking you questions about their work.
How to Give and Receive Feedback on Creative Writing
Think about how you would like to receive feedback and apply that to the feedback you give to others. Make sure your feedback is balanced; for every critical point, include a positive point. Don't shy away from criticizing elements that stand out, but do this in a constructive way. Offer suggestions for points that seem weak, but don't ...
Places to Find Feedback as a Writer
Outcome feedback is the simplest form of feedback. It runs along the lines of a grade, pass/fail or a positive or negative audience response. Think of it as overarching feedback on a performance or an entire work. It doesn't dig into details. It merely says: "Hey, this went well" or "This didn't go great."
How to give constructive feedback on writing that rocks
Giving feedback: Helps others improve their writing so they can reach their goals. Improves your own problem-solving (developing critical thinking skills you can apply to your own work). Builds rapport with writers that sustains productive collaboration (when given in a tactful and supportive way).
How To Give (And Receive) Writing Feedback
Reflect on the Feedback. After receiving feedback, take the time to reflect on the suggestions and determine which ones resonate with you and your intentions for the piece. Remember that you are ...
Peer Review
For very young students, encourage them to share personal stories with the class through drawings before gradually writing their stories. Create a chart and display it in the classroom so students can see the important steps of peer editing. For example, the steps might include: 1. Read the piece, 2. Say what you like about it, 3.
How to Handle Feedback on Creative Writing
Sift through the readers' comments with gratitude, consideration, and a healthy grain of salt. A one-off negative comment may reflect more about a particular reader than your work, but similar observations raised by four or five readers may indicate something you need to address. So, consider all your feedback, hold it lightly, keep what ...
How to Give and Take Better Writing Feedback
2. Know your purpose. If you know why you are writing, it makes the critiques easier to accept, and it can help you sift through the feedback for the most helpful bits. 3. Be specific about what you need. If you are asking someone to read your work for the purpose of giving constructive feedback, ask for what you need.
How to Give Feedback on Fiction: A Guide for Readers
Part A: How to give feedback. 1. The shit sandwich. The shit sandwich [i] is the most important tool you need to know when giving criticism. Praise - Critique - Praise. This works anywhere: office reviews, school reports, conversations with your lover, anywhere. First, start by saying something positive.
Writing Feedback: An Actual Sample of Comments Provided
The sample writing feedback here is an abbreviated version of a manuscript evaluation, printed with permission of the author, but with the character names and some other revealing details removed to maintain the author's privacy. A full evaluation normally consists of roughly 6 to 10 pages of writing feedback. i.
How to Provide Feedback in your Creative Writing Workshop
Learning how to write well is more than just cranking out words in response to creative writing prompts. For instance, I'm sure you have gotten feedback in your fiction writing workshop (or writing studio or writer's studio, which is the more popular term of the day) on a submission from someone who you thought was a self-serving ass ...
Boldface 101: the Creative Writing Peer Review
Don't worry! This week's installment of Boldface 101 introduces you to the process of giving and receiving peer reviews. First and foremost, we urge you to prepare in advance. Thinking deeply about your critiques and making meaningful comments is important. Your classmates are there for the same reasons you are—to improve their writing.
The Writing Center
But don't try to write the paper for the writer by telling him/her what to say and how to say it. Write out your key comments and suggestions on the back of the paper or on a separate sheet of paper so the writer can refer to them later while revising. Golden Rule. Provide your peer with the considerate and thorough feedback you would want to ...
Peer Review
C.A.R.E.S Feedback Method: Peer Writing Reviews - Developed by Andrea Dardello, PhD ... While one student reads his or her paper out loud, the rest of the group will listen and fill out the C.A.R.E.S Feedback form. ... This site is licensed under a Creative Commons Attribution-4.0 International License.
Scoring Creativity: Decoding the Rubric for Creative Writing
Originality: Successful creative writing demonstrates a unique and imaginative approach. A rubric should prioritize originality, encouraging students to think outside the box and avoid clichés or common themes. Engagement: A captivating story or piece of creative writing should engage the reader from beginning to end.
How to Give and Receive Feedback About Creative Work
In a study of seven companies and 11,471 days of creative work, researchers found two striking patterns: First, getting feedback was incredibly rare, indicating that people seemed to avoid it; and ...
Instructor's Guide for Giving Feedback
Formative feedback is feedback that's offered during a unit, on drafts or on other scaffolding assignments, to help guide students' learning and sometimes revision. It usually helps form the final product. It tends to be more often found embedded in the text using something like Track Changes or marginal comments (also called "proximate feedback").
How to Give Creative Feedback: 9 Tips for Constructive Criticism
2. Always be honest. If you truly want to provide productive feedback to a friend or colleague, tell them the truth. If you think they've done great work, say so. But if you think they need to make corrections, that's okay to say, too. Try the sandwich method of giving feedback: Give negative criticism in between two positive comments—but ...
Peer-feedback For Creative Writing Teaching Resources
Peer Feedback Protocol for Creative Writing. This is a Peer Feedback Protocol that I created to help students give each other meaningful feedback. The product includes a slide for the Writer's Reflection and then a handout instructional sheet to walk students through giving meaningful feedback. If you download this resource and enjoy it, please ...
PDF Examples of Creative Evaluation Techniques
Chart - eg enjoyment & learning on axes. Stickers to mark feedback. Images to stimulate discussion - individual or project focused Photos - before/after; of activities; by participants Photos of activities to vote on with stickers Poster of event/project Timeline - key points of event/activity along line.