From Peter Elbow and Pat Belanoff, Sharing and Responding (New York: Random House, 1989)
Summary of Ways of Responding
THE TWO PARADOXES OF RESPONDING
First paradox: The reader is always right; the writer is always right.
The reader gets to decide what's true about her reaction: about what she sees or what happened to her, about what she thinks or how she feels. It makes no sense to quarrel with the reader about what's happening to her (though you can ask the reader to explain more fully what she is saying).
But you, as the writer, get to decide what to do about the feedback you get: what changes to make, if any. You don't have to follow her advice. Just listen openly -- swallow it all. You can do that better if you realize that you get to take your time and make up your own mind -- perhaps making no changes in your writing at all.
Second paradox: The writer must be in charge; the writer must sit back quietly too.
As the writer, you must be in control. It's your writing. Don't be passive or helpless. Don't just put your writing out and let them give you any feedback. You need to decide what kind of feedback (if any) you need for this particular piece of writing. Is your main goal to improve this piece of writing? Or perhaps you don't really care about working any more on this piece -- your main goal is to work on your writing in general. Or perhaps you don't want to work at anything-but instead just enjoy sharing this piece and hearing what others have to say. You need to make your own decisions about what will help you. Don’t let readers make those decisions.
Therefore ask readers for what you want or need -- and insist that you get it. Don't be afraid to stop them if they start giving you what you don't want. (Remember, for instance, that even after you are very experienced with all kinds of feedback, you may need to ask readers to hold back all criticism for a piece that you feel tender about. This can be a very appropriate decision; stick up for it.)
Nevertheless, you mostly have to sit back and just listen. If you are talking a lot, you are probably preventing them from giving you the good feedback they could give. (For example, don't argue if they misunderstand what you wrote. Their misunderstanding is valuable. You need to understand their misunderstanding better in order to figure out whether you need to make any changes.)
Let the readers tell you if they think you are asking for inappropriate feedback -- or for feedback they can't give or don't want to give. For example, they may sense that your piece is still unformed and think that it doesn't make sense to give judgment. They may think sayback or descriptive feedback would be more helpful. Or they may simply hate giving judgment. Listen to them. See whether perhaps you should go along: they may be right.
If you aren't getting honest, serious, or caring feedback, don't just blame your readers. It's probably because you haven't convinced them that you really want it. Instead of blaming the readers, simply insist that they give you what you need.
What follows is a summary of the kinds of feedback we have earlier described.
1. NO RESPONDING: SHARING
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How to Use It |
When It's Useful |
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Just read your words out loud; see what they sound like. You probably learn more from the act of reading in the presence of listeners than from any kind of feedback. |
When you don't have much time. Or at a very early stage when you're just exploring or feeling fragile about what you've written and don't want criticism. It's also useful when you are completely finished with a piece: you've finally got it the way you want it or you don't have the time or energy to make any changes-so it's time to celebrate by sharing it with others and not getting feedback at all. |
11. DESCRIPTIVE RESPONDING
Sayback
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How to Use It |
When It's Useful |
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Ask readers: "Say back to me in your |
At an early stage when you are still |
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own words what you hear me getting |
groping, when you may not vet have |
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at in my writing. But say it more as a |
been able to write what you are really |
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question than as an answer-to invite |
trying to say. If readers say back to |
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me to figure out better what I really |
you what they hear-and invite you |
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want to Say." |
to talk-this often leads you to exactly |
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what you want to write. |
Pointing
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How to Use It |
When It's Useful |
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Ask readers: "Which words or phrases |
When you want to know what is |
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stick in mind? Which passages or |
getting through. Or when you want a |
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features did you like best? Don't |
bit of confidence and support. |
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explain why." |
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Summarizing
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How to Use It |
When It's Useful |
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Ask: "What do you hear as my main |
When you want to know what's |
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point or idea (or event or feeling)? |
getting through. If a reader says she |
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And the subsidiary ones?" |
disagrees with you, you need to know |
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what she thinks you are saying. |
What's Almost Said or Implied
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How to Use It |
When It's Useful |
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Ask readers: "What’s almost said, |
When you need new ideas or need to |
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implied, hovering around the edges? |
expand or develop what you've |
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What would you like to hear more |
written-or when you feel your piece |
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about?" |
isn't rich or interesting enough. What |
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you don't say in a piece of writing |
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often determines the reactions of |
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readers as much as what you do say. If |
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this is an important piece of writing |
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for you, you had better look to |
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feedback about the implications. |
Center of Gravity
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How to Use It |
When It's Useful |
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Ask readers: "What do you sense as |
Same as for "What's Almost Said," above. |
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the source of energy, the focal point |
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the seedbed, the generative center for |
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this piece?" (The center of gravity |
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Might well not be the "main point" |
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but rather some image, phrase, |
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Quotation, detail, or example.) |
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Structure; Voice, Point of View, Attitude toward the Reader,' Level of abstraction or Concreteness;
Language, Diction, Syntax
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How to Use Them- |
When They're Useful |
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Ask readers to describe each |
At any stage. When you need more perspective. |
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of these features or dimensions of |
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your writing. |
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Metaphorical Descriptions
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How to Use Them |
When They're Useful |
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Ask readers; "Describe my piece in |
At any stage. When your writing feels |
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terms of weathers, clothing, colors, |
stale and you need a fresh view. If |
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animals. Describe the shape of my |
readers learn to give this kind of |
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piece. Give me a picture of the reader- |
feedback, their other feedback tends to |
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writer relationship. What's your |
improve. Sometimes young, |
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fantasy of what was on my mind that |
inexperienced, or naive readers can't |
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I wasn't writing about ('substitute |
give you other kinds of feedback but |
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Writing’)?" |
give very perceptive metaphorical feedback. |
111. ANALYTIC RESPONDING
Skeleton Feedback
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How to Use It |
When It's Useful |
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Ask readers to tell You about these |
When writing a persuasive essay or |
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three main dimensions of your paper: |
any essay that makes a claim. At an |
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early stage when you have a lot of |
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unorganized exploratory writing, |
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you see as my main point and |
skeleton feedback is a way to get help |
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my sub-points-and the |
from your readers in adding to and |
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arguments or evidence that I give |
organizing your material. At a late |
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or could give to support each?") |
stage, readers help you analyze |
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strengths and weaknesses. It's also |
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helpful for giving yourself feedback |
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paper seem to take for granted?' |
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my audience? How would my |
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reasons work for them? How do I |
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seem to treat them in general?") |
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Believing and Doubting
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How to Use It |
When It's Useful |
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Ask readers: "Believe (or pretend to |
The believing game alone is good |
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believe) everything I have written. Be |
when you want help and support for |
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my ally and tell me what you see. |
an argument you are struggling with. |
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Give me more ideas and perceptions |
Together they are useful at any stage. |
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to help my case. Then doubt |
They provide strong perspective. |
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everything and tell me what you see. |
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What arguments can be made against what I say?" |
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Descriptive Outline
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How to Use It |
When It's Useful |
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Ask readers: "Write me says and does |
Descriptive outlines make most sense |
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sentences-for my whole essay and |
for essays-and are particularly useful |
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for each paragraph or section." Does |
for persuasive pieces or arguments. |
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sentences shouldn't mention |
They give you the most perspective. |
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the content of the paragraph-i.e., |
Only feasible when the reader has the |
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shouldn't slide into repeating the says |
text in hand and can give a lot of time |
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sentences. |
and care. Particularly useful for |
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giving feedback to yourself. |
IV. READER-BASED RESPONDING: MOVIES OF THE READER'S MIND
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How to use It |
When It's Useful |
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Get readers to tell you frankly what |
Movies of the reader's mind are useful |
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happens inside their heads as they |
at any stage-but they depend on a |
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read your words. Here are ways to help |
relationship of trust and support with |
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them: |
readers. They can lead to blunt |
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criticism. They're most useful for |
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long-range learning: they -may not give |
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them tell their interim reactions. |
you direct help in improving this |
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particular draft. |
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V. CRITERION-BASED OR JUDGMENT-BASED RESPONDING
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How to Use It |
When It's Useful |
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Traditional criteria for imaginative or |
When you want to know how your |
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creative writing: |
writing measures up to certain criteria. |
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(Omitted) |
Or when you need a quick overview |
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of strengths and weaknesses. This |
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kind of feedback depends on |
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experienced and skilled readers. And |
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Traditional criteria for expository |
still you should always take it with |
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or essay writing: |
a grain of salt. |
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address the assignment, question, or task?) |
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distinguish three dimensions: |
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ideas; details or examples; |
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reasoning.) |
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stance toward the reader.) |
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punctuation; proofreading.) |
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Of course, you can specify whatever |
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criteria you think right for a given |
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piece of writing: what the particular |
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writing task demands (e.g., persuading |
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the reader) or what you are currently |
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working on (e.g., voice). Or you can |
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let readers specify the criteria that |
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they think are most important. |
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FEEDBACK FROM YOURSELF
Certain of these feedback procedures particularly increase your perspective and thus improve your feedback from yourself