Poetry Workshop

An ANALOGY is a comparison between two things. When we compare two DIFFERENT things we create a metaphor. If we compare using the words "like" or "as" (adverbs) to soften the comparison, we create a simile. If an object stands in for an abstract idea we get a symbol. If a person stands in for an abstract idea we create an allegory.

Task: In your journal write a poem that compares two things in a creative or unexpected way. To start, choose a feeling or abstract idea. Then compare this feeling/idea with a concrete and specific noun.

"Your Arms are Stronger than the Words" by Katy Montgomery

Your arms are stronger than the words of the Gettysburg Address.
Yet soft and warm as clothes in a dryer.

And your eyes--bluer than Boston in a World Series,
Deeper than the stack of papers on my desk.

Your voice rings like the phone in the middle of dinner,
It bubbles in me like milk blown through a straw.

How much do I love you?
More than a fire loves oxygen.
More than the mailman loves Sundays.
More than the Rabbit loves Trix.

Conducting a Writers Workshop

Workshopping a written piece is an important step in getting feedback about your writing. If a workshop group is knowledgeable and skilled, they can help a writer grow immensely in a short period of time. Our goal is to craft our writing to make it the best that it can possibly be.

Workshop procedure: POINTING
Why use it?: Great for diction (and therefore tone), poetry, or making sure important lines are noticed by a reader. Works best with poetic verse.

POINTING is a workshop tool where each workshop member hears or reads the piece up for workshop and selects a word, phrase, or sentence from the piece. Going around the group taking turns, each workshop member reads his/her selection (word, phrase, or sentence) out loud so that the author hears the line that the reviewer liked. Effectively, you could continue doing this practice as long as there is something the reviewer liked. Each time the author hears a word, phrase, or sentence selected, he/she makes a check mark next to the word, phrase, or line on his/her copy of the workshop piece. At the end, the author should have various lines checked. If a poet, for example, has everyone in the group say that they liked a line, there is physical proof (the check marks) that the line works for the reader.

What to do with this information?: After pointing, go back and see what you might be able to cut (usually the words, phrases or lines no one selected). Consider WHY the word, phrase, or sentence worked and try to replicate that throughout the piece.

While pointing is meant to be a positive experience, the author is in full control of what is kept and removed in a piece, realize that some lines or words are essential, but may not draw the reader's attention. If the line is important to the writer, and no one selects or notices it, the writer should take this into consideration.

A workshop group could also be more critical, POINTING at words, phrases, or sentences that the reviewer did NOT like. But this takes a strong backbone and trust.

Workshop groups:
A: Raeona, Jesziah, Akhiyar, Darnell
B: Pahz, Javant, Alquasia, Ja'kiya
C: Turon, Britney, Ja'Miah, Victoria
D: Joshua, Kemani, Jenna, Isobel

Follow these steps to complete your workshop:

1. Get into your workshop group (see below for groups)
2. Each contributing writer should take turns reading their work out loud to the rest of the group. You may organize this how you wish--with each poet reading and discussing one poem (going around the 'circle', and then once everyone has had a turn, going around the circle again with your second poem, and then third poem, then..., etc.)
3. The group should listen and read silently while the writer reads his/her poem
4. As the writer reads his/her poem, the workshop members should highlight or mark specific words or phrases or lines that he/she liked on the poem draft copy. If you notice mistakes in grammar, spelling, mechanics, syntax, etc. you may note these as well. Begin using your newly learned editing marks as practice!
5. Consider the basic questions and techniques of poetry...(structure/form, persona/speaker, POV, setting, theme, message, tone, mood, voice, meter, line, imagery, diction, characterization, conflict, sound techniques, etc.) Give the writer a WRITTEN critique of their poem based on the questions on the handout. You should complete one of these for EACH poet (not every poem!) You may also write your specific corrections/comments on the poem draft copy. You will be giving your poet the marked copy and the comments for the scoring rubric. Poets will use this to revise/rewrite.
6. When everyone is finished writing comments, open the discussion to the writer’s specific questions. Writers should help this along by jotting down and asking some questions that they want to know about their work. For example: Did you understand the message of my poem? What are some ways in which I can improve or strengthen my poem? Is the persona's voice clear and well defined or developed? Does the setting of my poem distract you as a reader? Do you have some suggestions with this line that I am having trouble with?, etc.
7. Again, after you have discussed the writer’s work, please return your marked poem draft copies to its writer.
8. After the group has finished helping the writer, please continue around the group to help critique the other writers who submitted material as well.
9. Continue this until the entire group has had a chance to participate in the workshop.
10. When your group has completed the workshop, take the notes/comments from your peers and go to the lab. Revise your poetry based on comments. Select ONE poem you revised and turn the second draft in to me with the written comment sheets you used from your peers, and your marked up copies.

You will be graded on the following during workshop: 
A. Participation: offering a poem draft to be critiqued; critiquing another author's work.
B. The written critique response.
C. The author's revision. Your group will be graded together on the IMPROVEMENT from draft one to draft two.

LAB: Revise 1 of your workshopped pieces to strengthen it's artistic structure, content, and aim. Please attach your comments/notes/feedback to your poem revision draft and turn in by end of class today.

HOMEWORK: None.