I'm on Winter Break until January 5, 2026 | Have a great New Year!

In the Margins Logo

Code of Conduct

In the Margins Groups, Workshops, and Events

Writers’ groups, workshops, and other related events are intended to be supportive, creative environments in which writers can gain inspiration and a sense of community. Each group may have its own set expectations for how much (if any) feedback is expected, but all groups strive for kindness and safety in sharing.

Be Kind & Respectful

While we shouldn’t need to state this, we’re stating it. Sharing our creative work is an act of vulnerability. Feedback, even critiques, should always be delivered in a constructive way intended to help the writer elevate their story, not to shut them down or try to control it.

Actively Listen

There’s a difference between hearing and listening. Listening involves being mindful and processing what is being said. It’s easy in groups to want to say our own ideas—but a truly creative environment is about truly listening to one another and building off of the discussion as a whole, not just waiting to say our piece.

No Harassment

In the Margins does not tolerate harassment of any kind. If harassment is noticed during a meeting, the offending individual will be removed from that meeting and given a warning. If the offense is severe enough or if the behavior continues, they may be permanently removed from the group without a refund and banned from future ITM events.

What Happens in a Meeting, Stays in a Meeting

That’s right, Las Vegas rules apply. Ideas or excerpts shared during a meeting are to be kept within the group. An individual’s ideas and writing are their intellectual property and should not be used or shared outside of this confidential space unless done so with explicit permission from the author.

Be Courteous if Writing/Share Explicit Content

Excessively violent or graphic writing should be kept for groups dedicated to genres familiar with that content. If your writing contains themes or content that others may find difficult or distressing (including violent, sexually explicit, or hateful content) please make the group aware before reading out loud or submitting for workshop feedback.

No Excessive Self-Promotion

While groups are about celebrating the wins (big and small!), please no blatant or excessive self-promotion that extends beyond celebrating.

Group/Event-Specific Guidelines

Co-Writing Spaces Conduct
Co-writing spaces are intended to help alleviate any feelings of isolation or loneliness we may feel while writing, editing, etc. Although we may have some light chatter, this is mostly intended to be a “get it done” space in which we are sharing a screen while working on our own individual projects.
Sprint Writing Group Discussion Conduct
To be successful, when sprint writing we must leave our inner (and outer) critics at the door.
 
This means that there is a zero-critiques policy in sprint writing groups. While writers may choose to share what they wrote during a sprint, fellow attendees are limited to complimenting and commenting only on what stood out to them in a positive way.
Group Coaching & Accountability Discussion Conduct
We’ll be setting and striving toward goals each meeting. Many writers will hit those goals consistently, and we’ll cheer them on. Some, however, may not.
 
It’s the group’s job to keep those writers feeling positive, to assess why they may be falling short of goals, and to provide advice and resources as appropriate. This should all be done with care and kindness, never with judgement or criticism.
Fiction Workshop Conduct
A writing workshop benefits not only the writer whose work is being discussed, but also those taking place in the discussion. As the writer, we have the opportunity to listen to how our work is being perceived. As a reader, we offer thoughtful analysis of another’s writing; in doing so, we develop an eye and ear for what works within a piece, and what does not. This heightened consciousness in turn affects our own writing.
 
WORKSHOP DISCUSSION
  1. Workshop discussions will begin with the writer reading a short passage—one or two paragraphs—from their piece.
  2. Following this reading, the writer must remain silent, and should take notes during their workshop. Being an observer rather than a participant in the discussion helps to stifle the automatic desire to defend our work. This allows the writer to hear how their work is being perceived, and to generate ideas for how a piece may be improved upon.
  3. Those discussing a work should speak to each other and not to the writer. This allows for an open discussion of a work, rather than creating the sense of a one-on-one conversation.
  4. We will focus first on what is working within a piece, and then progress into what we think the writer could improve upon.
  5. Ask questions—not just of the piece at hand, but of each other. If you do not understand something, say so. It is important for the writer to know what is working and what is not. If a classmate states something about the piece that you do not understand, it is just as important to ask them to clarify.
  6. Allow the discussion to take a natural course. A discussion is as much about speaking as it is listening—if you are planning the next point you want to make, then you are not listening to points being made by others. Perhaps there is something about a piece you did not notice, and someone’s comment on it triggers a new idea or response in you.
  7. Focus on the greater aspects of the piece and of the craft of the writer, not on line-by-line editing. If you have such edits to offer, they can be given to the writer on your hard copy of his or her work. The discussion itself is meant to serve a greater purpose.
  8. Remember that we are not here to define or rewrite another person’s piece of writing. We are here to help each other to understand what is working in our individual pieces, and what can be improved upon. Expressing confusion or offering questions or possibilities during a workshop is fine, but we are not seeking creative control of another’s work.
  9. At the end of the workshop, the writer will be given the opportunity to comment and ask questions.
 
SUBMITTING YOUR WRITING
  • Your work should be submitted to Kayleigh by the first workshop meeting to allow distribution to the rest of the participants. Please email a .doc or .docx file.
  • Please use standard formatting. Appropriate fonts include Times New Roman and Arial, size 12. Lines should be double-spaced, and margins 1” to allow room for commenting. See manuscript formatting.
 
RESPONDING TO OTHERS’ WORK
  • Be prepared. Every writer in this workshop should be prepared to respond to every piece submitted for workshop rotation. This includes preparedness for the workshop discussion, as well as a written response to the author. It is unfair to expect help on your own writing while not contributing to the improvement of others’ works.

  • Be thorough and honest in your written responses to a piece. Begin with what you appreciated about the piece, followed by what areas may need additional attention from the author. We may not be able to discuss every point during a workshop, and written comments offer writers insight into your experience with their writing. Letters may also be used for reference when making revisions to a piece later.
 
  • Be respectful. The author must learn to take criticism with restraint, just as those discussing the author’s work must learn to offer criticism in a respectful and responsible manner. A workshop is an encouraging, supportive environment—criticisms should be offered in the form of suggestion, not as an attack on an author or his or her work.
 
Some questions to consider when reading and discussing a piece:
  • What lines stick out to you?
  • What passages do you admire?
  • What about the piece strikes you as most compelling?
  • Did the piece evoke any emotions?
  • Is the purpose clear and drawn out?
  • Does the voice/tone suit the piece? Why or why not?
  • Is there a passage that you find confusing? What might help?
  • Is there something you feel the writer needs to clarify?
  • Is there information you would like revealed that may not be?
  • Is there somewhere you feel the author explains too much, or too little?
  • Do the imagery and setting suit the events?
Skip to content