From de134f0709eb1580b69c2f94eb33c0d556822add Mon Sep 17 00:00:00 2001 From: Madison Scott-Clary Date: Fri, 17 Feb 2023 20:05:12 -0800 Subject: [PATCH] update from sparkleup --- writing/workshop-packet/packet-2.html | 184 ++++++++++++++++++++++++++ 1 file changed, 184 insertions(+) create mode 100644 writing/workshop-packet/packet-2.html diff --git a/writing/workshop-packet/packet-2.html b/writing/workshop-packet/packet-2.html new file mode 100644 index 000000000..6c53fbc61 --- /dev/null +++ b/writing/workshop-packet/packet-2.html @@ -0,0 +1,184 @@ + + + + Zk | packet-2 + + + + + +
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Workshop notes

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  • Friday — Critical reading
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    • Intro
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      • Intro self (incl. “this is for MFA” spiel)
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      • Allow others to intro
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    • Ice breaker: what is your least favorite part of your favorite movie?
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    • Lead into what is a text
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      • Books/writing, sure, but also anything that tells a story — film, games, etc
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      • Thus, what is critical reading?
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    • Intentional engagement with a text, especially with regards to the self
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      • Back to ice breaker: how do you intentionally engage with your favorite film?
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      • How do we intentionally engage with a text in furry?
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        • What do we like in a furry text? What don’t we like?
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        • Notably, not asking what makes a text furry, that we are furries is what enables us to read into that context
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        • Thus, how do we engage with a text that we feel is furry as furries?
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    • What goes into critical reading?
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      • Layers:
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        • Mechanical: presentation, word choice, language usage, writing style
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        • Subjective: emotional impact, plot effectiveness, evocative descriptions
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    • Reading exercise:
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      • Pick one of these two categories to pay attention to first and read, then read for the second
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      • Critique tomorrow, but preview: we’re not tearing a text apart, we’re asking it questions:
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        • How did we feel the plot worked? Was there a structure? Could we follow it?
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        • What was told? What was left out? How did (not) knowing make us feel?
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        • What type of language usage was there? Word choice? Style?
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        • How about emotional impact? Was the story impactful? Did the mechanics help or hinder us?
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        • Was it evocative? Was it furry? Did that work?
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      • Be ready to summarize
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      • 10 mins to read
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      • ~
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      • Have someone summarize
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      • Talk through the mechanical and subjective layers, drilling down into specifics
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      • Talk through how the exercise felt
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        • was it useful? Tiring? Enjoyable?
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    • Tomorrow, we’ll go through critiquing writing and actually workshop a piece — one of mine that has already been workshopped and published, so just an example of critiquing for a present author.
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    • Optional homework:
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      • Write a short ~500 word snippet (or pick one already written) to go through a gentle workshop, think about what we talked through today while writing
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      • Email it to me and I’ll put it online for all to read in the workshop
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      • Will be asking how it felt etc
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  • Saturday — Critiquing in workshop
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    • What is workshopping?
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      • More important, what is it not?
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        • Tearing apart a story
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        • Tearing down the author (Maslanka story)
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        • Editing a piece
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      • Talk about your engagement with the piece — remember list of questions from yesterday
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      • Author:
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        • Listen to feedback and take in the ways your work affected others
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        • Will talk about writing for workshops tomorrow
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    • Types of workshops and such
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      • Silent author
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        • How that works
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        • Why — active listening, no shaping responses
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      • Participatory discussion
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        • Better for pieces earlier in process
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        • Feedback as to where to take it
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      • The role of the facilitator
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        • Prevent stalling
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        • Keep on track
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        • Pay attention to mood, etc
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    • Tone
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      • Talk to the piece, not the author — some don’t even use the author’s name, pretend they aren’t there (not particularly a fan, but also stay away from addressing comments to ‘you’)
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      • Talk about yourself, your responses, your questions
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      • Changing language
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        • Stay away from generating shared values/taste
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        • Imagine and invite change
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        • We don’t want to over-reward author because then it becomes less about creativity and more about writing for success
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    • Sample workshop:
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      • https://makyo.ink/jump
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      • 10 mins to read
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      • Workshop discussion with silent author, then bring author in
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      • Discuss how it felt
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    • Tomorrow: writing to receive critique/actually receiving critique
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  • Sunday — Writing to expect critique
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    • https://makyo.io/fcww23s
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    • Writing and vulnerability
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      • Vulnerability in creation
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      • The terrifying ordeal of being seen
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      • How to manage having one’s vulnerability openly addressed
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    • A lot is on the facilitator
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      • Ensuring discussion stays on the work
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      • Ensuring uncomfortable silence is filled
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        • How silence feels
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        • How to fill silence if it happens (ask questions)
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    • Engaging with responses as author
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      • Always good to thank, but overdoing can weaken your position in your own eyes
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      • Maintain authorial vision ---- everything you get (even negative) is encouragement and opportunity to change, but not a demand
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      • Friction and vulnerability:
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        • Maintain openness (even physical — half smile, willing hands)
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        • Maintain distance
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        • Feel free to maintain boundaries, facilitator is there to help, can guide/move on from topic
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    • Take notes! Can be overwhelming, so read through and think before blithely implementing
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    • Workshops:
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      • One person summarize and lead in with discussion
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      • Try one response at a time vs open discussion
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    • Reflect on how that felt
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Page generated on 2023-02-17

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