HMHV 201
The Peer Response for Small Group Workshops

Isabella Franconati 

Writing is a difficult lonely endeavor, and every writer is a perpetual beginner.  Therefore, don’t be ungenerous with another person’s attempts.  Such an act will only reflect on you. 

The Peer Response is an attempt to describe the qualities of your peer’s essay, to say more than, “I like this,” or “I think this is just beautiful,” which is not helpful, unless you can say why.  But the Peer Response also asks you to help the author improve the piece.  Because of this, you must always remember to be conscientious and constructive.  Take a risk.  You must say things that will help the author make their draft better, but say it in a way that it can be received well.  And remember, a draft is a work-in-progress.  As you're reading, always keep in mind what the essay might still become, not just what it already is.  Think about the next draft, and the draft after that.  SPECULATE.   Make use of the expression "What if..". 

Becoming a good editor of other people's work will help you become a good editor of your own work.  You can see the flaws in other people's work far more quickly and clearly than you can see them in your own work--even when those flaws are similar.  Watching your peers' tackle their craft problems, and handle the advice they receive, will help you solve your own craft problems.  So remember:  you're not just helping your peer write a better piece with each one of these peer reviews, you're helping yourself, your own draft, and your future drafts as well. 

Choose from the prompts below which compel you as they relate to your peer's draft.  You can write your  response on one prompt, or several. 

The Peer Response Buffet

1. What is the essay's focus? (This is a more specific way of saying: what is the essay about?) Is the focus too narrow?  Is it too broad?  (Is it about too many things?) What if...
2. Why is the essay being told now?  In other words, how is this problem still a dilemma for the author at the time of writing?  How is this problem still vexing, still thrashing around inside the author?  (If the author seems completely at peace now with this problem, then there's no clear reason why this is being told.   If the author seems too much at peace (and you don't buy it), perhaps this is because the resolution is over-simplified, and the author hasn't yet embraced how this problem continues in the present.  What if...
3. What is the essay's central question?  What does the essay have to say about this question?  How might this be explored more complexly?  What if...
4. Is there a "time-of-writing" or “retrospective” voice in the draft that is struggling to make sense of this past experience?  How might this voice be rendered more fully?  What might this voice reflect on?  What if...
5. Do you have all the basic orienting facts?   Who. What. When. Where. Why. If not, what's missing?   What if...
6. How does the beginning of the piece create an "exchange of expectations" between the author and the reader?  Does the piece, as it evolves, meet these expectations?  How does it fail (in this draft) to meet those expectations?  How might it better meet these expectations in the next draft?  Do the expectations created by the beginning of the essay need to change?  Does the beginning need to change?  What if...
7. How is the essay an exploration of change?  How might this change be made more clear, more developed?  What if...
8. What does the narrator want?  What's in the way?  Are the obstacles formidable enough?  How might they be made more formidable in the next draft?  What if...
9. Are the scenes rendered in this draft the most important scenes?  If not, what if...
10. What questions do you have that the essay does not yet answer?  What suggestions can you make that would move this story closer to what it really wants to be about?  What craft areas might be developed that would make the draft stronger and more compelling?  (A characterization more complexly drawn; a scene written that's only suggested; a scene expanded; the setting better described; an object or metaphor put to further use.)  What if...

You must write a peer response for each of your peer's essays in your small group. The Peer Response should be 1-2 pages double spaced, typed.  Make sure to indicate which questions you are answering by including the number above, along with your response to it.   Peer responses will be graded on your attempt to provide clear, constructive criticism .  You will receive a grade for the overall quality of your peer responses at the end of the term.  

Handwritten margin notes are the place where you say to the author:  Nice image, or great dialogue, or good description, or Funny, or great transition, good characterization.  When I like something in a draft, I usually put a checkmark by it.  In your margin notes, you can heap on the praise and good will and fellowship.  So read the draft with a pen in your hand, making margin notes along the way.  Should you point out spelling errors, typos, individual sentences which confused you?  Sure, that would help the author clean up their draft, but the real work you have before you is in the answers to the "big picture" questions up above.   

Make sure to be bring TWO COPIES of your peer response to the small group workshop.  One to give to me or Jennifer and one to give to the author.

Good Luck!