Peer Feedback Sheet Instructions.docx
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Feedback Sheet with Annotations
FEEDBACK (Movies of your mind: Author: the person who wrote the piece
a story—an honest, detailed Title: a short title of their piece
description of what this piece of Reader: the person filling out this form
writing made happen in you)
Pointing (to sentences, paragraphs, word, or phrases): Do most of this pointing on your photocopy of the
piece itself, which you should give back to the author along with this form. Make sure your name is on the top
right corner of the author’s piece (no anonymous feedback).
Straight line (these penetrated my thick skull)—
Put a straight line under (or highlight) the passages that had the most energy for you, the words, phrases,
images that you are most likely to remember. You may not agree with them or even like them, but they had
the most heat. To highlight an entire paragraph or page, put a vertical line beside it in the left margin. There’s
no limit on how many lines you can underline, but the feedback is obviously more useful if you don’t underline
everything! You do have a bottom limit, however—you must underline something. When you’re done, pick the
one to three passages you feel most strongly about, ones you think the author should keep no matter what,
and identify them here, on this form.
Wavy line (these bounced off or didn’t work for me)—
Put a wiggly line under words, phrases, or passages that hit you the wrong way or that confused you or that
bored you. If you think you can explain why you reacted as you did, go ahead—but often we can’t explain
these reactions well or our explanations are in fact misleading, not capturing the real reasons for our
resistance (which we may not know ourselves). So don’t feel obligated to explain why it doesn’t work for you.
Again, when you’re done, pick the one to three passages that gave you the most trouble and identify them
here. Guideline: you cannot wiggly-line anything until you have straight-lined something. Your goal should be
to have more straight lines than wiggly lines, both on the photocopy of the piece and on this form (if that’s not
possible, limit yourself to equal numbers of each).
Main points or centres of gravity: State briefly what you think this piece was trying to accomplish. How
would you describe the centre of gravity, the heart of the piece? You may be aware from reading it what the
author wanted the centre of gravity to be, but your experience of it may be otherwise (all your attention may
have been off in one paragraph with X, even if the author wanted you to be focusing on Y). Let the author
know where the weight fell for you.
Three-minute sum up: Time yourself. If you run out of room here, turn this form over and use the back, but
be sure to inkshed for at least three minutes as full a summary of this piece as you can. Your summary will be
more useful if you prepare for a few minutes by looking back over the piece of writing first and reflecting on
the overall structure. How did it open? What happened next? What was the order of events or arguments or
information? How did it end? If you need to pause briefly, once or twice, to look back at the piece, go ahead—
just extend your inkshedding time accordingly. Do not try to evaluate the organization of the piece—invest all
your time in describing it as you see it, in as much detail as possible (referring to specific pages and passages
where the movement turns).
Word in—Choose a word that appears in this piece of writing that seems to you an especially significant or
key word, even if it was used only once.
Word out—Choose a word that does not appear in this piece but that seems to connect to it in some
significant way or to capture something about it. You may or may not feel that this word should eventually
make its way into the piece. (Often writers get excellent title ideas from this section of the feedback sheet.)
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