How To Give Feedback On Another Writer’s Poem: A Guide

Critiquing poems is not rocket science. Don't use cliches (e.g. "rocket sciences"), but it is important to know what a metaphor is.

Before we go into how to analyze a poem's content, let us first discuss what to NOT do. This assumes what the poet (or fellow student) suggests a draft and is genuinely ways to improve it.

The "No List":

• Don't respond to the poem with generalizations. Avoid the unhelpful responses "Boy has need to be worked on" and "I absolutely love this". Great job!" Negative generalizations are not worthless if there are no suggestions or reasons. It is also dangerous to affirm all drafts. Marketers of serious poetry may wonder why, after receiving countless hosannas by critical readers, dozens if not hundreds of rejections during the submissions process. Students may also wonder why the instructor gave the poem a lower grade than the "A" rating, even though all the readers loved it. 
• Revision critiques should not be confused with editing critiques. Revision is about diction, semantics and word choice. Editing focuses on the details of grammar, spelling, and mechanics. These are very important, but there is a place for them after review. It is okay to quickly mention editing issues that cause confusion (which can tie into content). You can then move to the marketplace for .
• Don't work-shy. Give others the same attention as you would give your own work. Annotate. Search for words. Note down your ideas. (See the following list.)
• Do not support the "all interpretations are the same" theory. They don't. They're arguments that need to be supported by textual evidence. You should ensure your interpretation fits the entire poem. It's not only insensitive, but it can also lead to a misunderstanding of the meanings in each word.
• Writers should not be rewritten. There is a fine line between solicitation and abduction. You should use your criticisms to help others, not as a way to get rid of a project.
• If the writer doesn't take your suggestions into consideration, don't be offended. Although some ideas might be considered, they are not always adopted. You have done your job if no one is interested. The writer has the ultimate agency. So it should be.

The "Do it Right" List is now available:

• Before you begin to read the work of fellow writers, make sure you have a dictionary and a pencil.
• Quiet atmosphere. Poetry, like mushrooms, prefer dark areas. If the room has a feedback phase, then speak slowly so that others can hear what you are saying.
• Be sincere, but also compassionate. They make an excellent pair. It's worth remembering that writers, regardless of their skin color, are unique and vulnerable. The author of this piece is sharing their work to help others.
• Ask the poet if you are able to. Everything? What is the best word choice? The opening and closing are the most important? Some poets tell you that their poem is right where they want. They just want some "fine tuning" tips. Others will simply say "Help!" All advice is welcome. There is a distinction! It's a big difference! However, if someone needs a lot of help, you'll make them feel like they are being overlooked. You are now a part of the world that is critiquing.
• Are you ready? You can read the poem several times. You can place a checkmark near any lines, words, or stanzas that you wish to comment.
• You can look up words that you don't understand. This is fundamental respect. This will help you to respond, especially if the definitions of the word don't match the poet's intention. For clarification, you can ask questions or simply say that. (Depending on the agreed ground rules, this can be either written or spoken. I prefer first write in silence, and then, when everyone has written something, speak in turn.)
• Start with the things you love. You may not like any of the things in this poem, but some has potential. You are not required to reveal the writer's greatest possibilities. This is not a breach of your oath.
• Be detailed. This should not be undervalued. This is something that must be stressed. Annotating this can be done with an "S" sign for each stanza or "L" for each line. So, you could write "In S2, Line 5 I like the way that you used …,"…". In simple terms, this would be "In Stanza 2 Line 5, I like the …." approach."
• As if the writer were a child, he or she will ask why you speak. Pretend that the writer will always ask why after you speak. Any constructive criticism, negative or positive is rooted within reason. You can't leave your job unfinished if you don't explain it. It's sloppy.
• Use poetry to speak. You can use terms you don't know or that you are familiar with to embed your criticism. "In S3,L1, I really like this metaphor (read) because (explain). This will feel like dropping Spanish language learners to Madrid for a few months if it is a classroom. Immersion works!
• You can offer suggestions for modifications, deletions, or additions. You should always discuss with the writer what you want. Some poets are very particular about their ideas for additions, changes, or deletions. Some people find this too specific. They prefer it if you simply point out strengths or weaknesses and not offer any concrete examples of possible modifications. These people don't want their opinions to influence them. Others enjoy the specific ideas as it leads to their unique specific ideas, similar but different to the reader's.
• Be aware that all criticisms can be a source of inspiration. They may be re-read by writers, who can then decide whether to move on with the ideas or not. The writer retains agency. She is the owner of the poem. This should not be undervalued.
• As a reader, it is okay to interpret the meaning of the poem. The writer may be surprised by this meaning. The writer may be surprised by this meaning. Alternately and in accordance with the reader-writer contract, alternate readings might delight the writer. These responses may reveal something about the writer and her writing. Be aware, however, that every interpretation must be supported by the whole poem. Without this, it's nothing but a chase after wind (Biblical for "a useless enterprise").
• Encourage the writer to take risks, even though it may not work out. Give reasons and explain how you think the change or direction might affect the risk. A lot of writers, especially in schools, take too much safety and copy professionals or exemplar texts. Vanilla mimicry does not invoke a Muse. It invokes a grade. It is a challenge to everyone's sensibilities to write poems that are safe and not mimicked. As a reader, you can offer suggestions on how to make the writer feel free, creative and take chances .
• If the poet writer is trying out ideas from professional writers (or in class), but it's not working, encourage it and tell her why. It could be one of those terms that everyone is familiar with, or it could be a simple pairing of words that has been mentioned in other poems.
• Be gentle with writers to discourage them from unintentional plagiarising. Students accidentally insert key words, phrases, ideas, or concepts that are not intended in their work. This could be described as: "Although it alludes to Eden, it's far too similar to Frost's work in 'Nothing Gold Can Stay. You might be able to express lost innocence in a way that is different from what anyone else has done. What is it like for you to lose innocence? Revision can be started by using your own experiences and connections.
• The title. Share your thoughts and feelings with the writer. The heading. If it is possible, the "turning point". The ending is the most important. The theme's consistency and effectiveness throughout the poem. Your passion is infectious. It will make it easier for the writer to take care of it.
• Use the language that ethos uses. Be understanding, helpful, respectful. I can see the effort you are trying to make here. It could lead to great things. It's not for me.
• It doesn't work yet because ______________. It might work if there is more ________, or a greater use of _____________. This is where you can ask ____________.
• There are certain nouns, activeverbs, imagery (the 5 senses), uncommon word pairings. Alliteration, similes/metaphors. Sound device (specify), rhetorical (specify), unity. Clarify, elaborate. Mixed metaphors. Economy of words. Cliches (as is "toxic effects".) Theme, importance, allusions. Assonance, consonance. Anaphora. These words and terms are the same in almost all situations, but may differ depending on the teacher's or mentor's emphasis.
• Explain why the language used by the writer must be used in the same way as the reader. It is essential to find the balance.
• Be positive at the end. Don't forget to invite the writer. "Does anyone have any questions?" Are you unsure of anything I (we), have said?
• You will find that reading poetry criticism can help you become a better poet. The marketplace of ideas is a great place to shop for ideas.
• Inspiring critiques that are thorough and well-written are a must. If writers are given constructive criticism and the opportunity to respond, they will often be more willing. It's not the fact that readers care, but it is that they are able to make a difference. What good is a poem if there are no readers? If there are no people around to hear the tree fall, it will be hard for them to understand. Writing is about audience. Although it may seem like you are writing only for yourself, the human experience has universality and uniqueness. Readers will be able to relate if you do your job right.
• Logistically, I made paper copies of every student's poem in class for any number of critique readers/students. The poet is required to read his poem two times. Listeners simply place the star, question mark, or check near what they want to say. The poet then becomes silent and the listeners add their comments to the margins. If things are going well, the time will be approximately 4/5 minutes. The group will discuss their comments in a clockwise order. Readers and poets (who may need to ask questions) are not allowed to speak. I, as a teacher, would be able to sit down with each group and give feedback. After that, I'd add my thoughts at the end, and then go on to another group. I would leave a note at the desk if I couldn't make it all the way to a class. Then, I would go to another group.