Essay 1: Option 1z: Describe and evaluate workshops / draft exchanges.

Miranda Allen

Whistle While You Workshop!

            This class is actually one of the first of two writing classes I have ever taken.  The other one I am taking this same semester as well, and I can honestly say that I am so very glad that I am in both of these classes.  I have already learned more than I ever thought possible about writing both fact and fiction and really look forward to additional writing courses in the future.  I have chosen option 1.Z for my final exam topic, because I feel that a huge part of my learning experience in the this class came from the workshops we constructed.

            As this was my first writing class, it was also my first workshop experience, and, now that I have partaken in a workshop, I can think of no better way to develop a piece of literature.  There are several reasons why I have come to this conclusion, and one of them is because workshops allow the participants, both authors and readers, to share great ideas amongst each other in a friendly but extremely constructive environment.  Likewise, group discussions help authors to come up with thoughts and ideas they never would’ve thought of on their own.  Often times, writers are so involved in their own work that they cannot look at it in an objective light.  A workshop would allow the writer the opportunity to share his/her work and get ideas from the readers, who can look at it objectively since they’ve never seen it before.  It’s basically like a puzzle you can’t figure out no matter how long you work on it, but someone else can come in and immediately see how the pieces fit together best.

            Also, workshops are wonderful because they allow writers the advantage of obtaining positive, and more importantly, constructive feedback that they could never get from friends or family members.  All too often, those who are close to us are reluctant to give their true opinions on our work because they’re afraid of hurting our feelings or because they are not educated enough on the subject of writing to give productive feedback.   I think this is most likely why workshops were invented to begin with. 

            Thirdly, I believe that group studies and draft exchanges are very beneficial because they totally contradict the popular stereotype of the tortured, moody writer who sits alone in the basement for hours and then emerges with an infamous masterpiece.  In chapter 15, the author of our Three Genres textbook, Stephen Minot, points out how “many writers are reluctant to discuss those long hours of effort because they like to maintain the illusion of the story as a complete and seamless work” (Minot pg. 175).  However, as writers, we know better.  We all know how much work goes into making a story, poem or any piece of literature.  Between the numerous drafts, edits, and rewrites, it is easy to see that writing can be a very difficult task.  And, of course, as Minot also discusses in chapter 15, “revising usually takes far more time than writing the original draft” (Minot pg. 178).  Actually writing a story or poem is done without too much forethought and is a somewhat impulsive process.  On the other hand, the revising process is much more detailed and involved.

            In short, workshops and draft exchanges both help writers to do things with their works of literature they may never have thought of on their own, it allows them the benefit of receiving lots of feedback and constructive criticism, and they offer a sharing of ideas that aren’t really available in other settings.  Considering these factors, group studies are truly a gift to those who are able to participate in them.  The fresh perspectives they provide are truly priceless.