Not long ago, I was searching for ways to improve the way I teach peer writing groups in the classroom, when I came across the work of Peter Elbow. I had heard of his famous 1973 book, Writing Without Teachers, often mentioned in the same sentences as Don Murray’s A Writer Teaches Writing. It was clearly an important book in the process writing movement, and I’m not sure why I hadn’t gotten around to finally reading it until this year.
But it was in hunting for ideas about writing groups that I came across Elbow’s writing group principles somewhere else – it was in one of the written-for-ELA-teachers books that I have. I forget which. But the author was talking about just the same problem I was having: that peer writing groups among my students were not attaining the results they should be. The writer described the changes he had finally made, and it seemed like many of them involved embracing some of Elbow’s ideas about running writing groups. This was welcome, because most of the other information I found about peer feedback was mostly just melted down group work advice. Elbow’s stuff was aimed at writing groups, and it seemed interesting.

The main thrust of Elbow’s work, as I could see it at first, seemed to be for peer reviewers not to simply try to “correct” their fellow students’ work, nor even to offer feedback and good and bad aspects of the work, but to relate, in a fairly descriptive fashion, what Elbow called “movies of their minds” – their subjective experiences of what they felt or thought while reading their peers’ work. Elbow had distilled this down into a number of different specific response types that students could request from their peer readers, the two most important of which were “pointing” (which involves “pointing” to words or phrases in the work that particularly stood out to them), and “summarizing” (which asks readers to summarize the main ideas they heard in the writing).
I was struck by the notion of allowing readers to choose what type of feedback they wanted from readers as much as I was by the particular categories, and so I made up my mind to adopt these elements into my own teaching practice. But in my daily practitioner’s time-strapped, I’ve-got-classes-coming-in-on-Monday-morning haste, I just threw his ideas into place without really taking the time to examine the underlying philosophy. But recently I had a chance to go back and really read his seminal Writing Without Teachers. His philosophy, especially as distilled in his classic and I think underappreciated “appendix essay”: “The Believing Game” – is worthy of study.
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