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CRITIQUE GROUP: FICTION WRITERS
With Sharon Rundle (10RUND9)
6 x Saturday afternoons: 25 September; 9 & 23 October; 6 & 20 November; 4 December, 1pm - 4pm

Every writer wants feedback to help progress towards publication but it is difficult to find useful constructive criticism. Now you can become part of a group that provides just that. Led by experienced writer and editor Sharon Rundle, group members will give and receive regular feedback on their work and the work of others.

Even the best writers seek feedback from their peers. Virginia Woolf was in a writers’ group. So was CS Lewis, Katherine Mansfield, Henry James, James Joyce and Dorothy Parker. Critiquing each other’s writing in a supportive group allows for genuine feedback intended to improve or elevate a work. Through critiquing the work of others, writers learn how to spot where their own writing has room for improvement. During these sessions, Sharon will show writers how to apply constructive comments to revise and improve drafts.

Sharon will cover various aspects of giving and receiving critiques of literary works in a relaxed, supportive environment. These will include the purpose of a critique; how to read for and how to give and receive appropriate, constructive criticism; the difference between subjectivity and objectivity when forming a critique; the importance of respect, positive suggestions, privacy concerns and copyright; practical application by critiquing literary works as exercises; practical application through critiquing each others’ work; discussion and practical application of constructive criticism when revising a draft.

There will only be eight students in this course. Writers should be at an intermediate stage of their writing. You may be working towards publication or just trying to hone your skills. Writers will submit their work to the group for constructive feedback on a rotating basis. Writers in the critique group are expected to participate in discussions, to do practical exercises in critiquing literary works and to give constructive criticism on the work of others.

At the end of eight weeks, students can use the skills and connections they’ve made through the course to continue the critique group or set up their own. The NSW Writers’ Centre will give all support to students wishing to become a regular group in our community of writers’ groups.

How it Works
Writers should provide nine hard copies of work to be critiqued, one for each member of the group and the facilitator. These should be distributed to the group during the session prior to the scheduled critique. Texts for critique should be printed, double-spaced, in 12 point font, on A4 paper, pages should be numbered. Stories or excerpts should be 3000 words maximum. It is essential that participants commit to attending each session; to reading all works submitted for critique (3 or 4 each session) and to giving a considered response. Participants should bring along a story or extract from a longer work to the first session if they have one ready for critiquing, one will be chosen for the first day as an example and two will be distributed for the second session.

Week One
Discussion about the purpose of a critique; how to read for and give and receive appropriate, constructive criticism of a literary work; the difference between subjectivity and objectivity when forming a critique; discussion about the importance of respect, positive suggestions, privacy concerns and copyright; discussion about ways for the writer to respond to constructive critiquing; practical application by critiquing literary works as exercises and looking at the different literary techniques used. Giving a critique for one work from a member of the group. Response by the writer. Drawing up a roster of stories to critique during following sessions. Includes short break for afternoon tea. Distribute stories for critiques for next session.

Week Two
Re-cap of purpose of a critique and etiquette for giving and receiving constructive criticism. Discussion and practical application of making constructive criticism work for the writer when revising a draft. Practical application in critiquing the works distributed the previous week. Responses by writers whose work has been critiqued. Copies distributed of next works for critiquing. Includes short break for afternoon tea.

Week Three
Discussion about what has been learned and about using writing and editing techniques. Critiques of selected works. Responses from the writers. Copies distributed of next texts for critiquing. Includes short break for afternoon tea.

Week Four Discussion about the benefits of critiquing and how to use it to progress. Critiques of selected works. Responses. Copies distributed of next works for critiquing. Includes short break for afternoon tea.

Week Five
Discussion involving questions that have come up during the course. More about literary techniques and the importance of revising. Critiques of selected works. Responses from the writers. Copies distributed of next works for critiquing. Includes short break for afternoon tea.

Week Six
Critiques of works selected. Responses from the writers. Rep-cap. Summing up of what has been learned; discussion about how each writer in the group can apply what has been learned. Where to go from here? Feedback from participants. Includes short break for afternoon tea.

Expected Learning Outcomes
To understand the purpose of a critique; to understand how to give and receive a constructive critique; to understand the difference between subjective and objective literary criticism; to be able to analyse and critique writing drafts with the aim of improving particular aspects or techniques of a work; to be able to apply constructive criticism when revising a draft.

Recommended Reading
Handout: giving and receiving constructive criticism; Making Stories – How Ten Australian Novels Were Written, Eds Kate Grenville and Sue Woolfe, Allen & Unwin; The Elements of Editing by Plotnik, Macmillan.

Student Requirements: Bring draft work for critique, including for the first session – maximum 3000 words per session. During the following weeks, work for critique should be distributed in hard copy to each member of the group at the session prior to the scheduled critique.
Food: Tea and coffee making facilities will be provided. Course participants are advised to bring their own lunch.

SHARON RUNDLE co-edited Fear Factor Terror Incognito, a volume of short stories from Australia and the Indian sub-continent, Picador India (2009) Picador Australia (2010). Other published works are included in: Encounters -Modern Australian Short Stories; Desert in Bloom – Indian Women’s Fiction in English; Round Table Magic and Round Table Writing – Workbooks for Writers and Writing Groups. Sharon lectures at the University of Technology Sydney; edits the UTS Alumni Writers Connect and is Head of the UTS Alumni Writers’ Network. She runs the Round Table Writing Manuscript Service. She has taught English, Writing and IT subjects in Australia and the UK for over fifteen years. She has received a Commonwealth Short Story prize; UTS SMSA Medallion for Superior Academic Achievement and Adult Education Practice; two silver University of Delhi medallions and an award for over 15 years Service to the Learning Community. She has presented at workshops and conferences in Australia, UK and India. Sharon is a full professional member of the Institute of Professional Editors and the Society of Editors NSW Inc. Sharon’s visits to India are supported by the Commonwealth through the Australia-India Council which is part of the Department of Foreign Affairs and Trade and the Creative Industries' Career Fund of Copyright Agency Limited Cultural Fund.