This Code of Conduct provides structure for members on the expectations placed upon them by Boroondara Writers.

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Purpose

The founding principles of the Boroondara Writers Group are to:

• Encourage members to continue with their writing

• Support members efforts with constructive criticism, friendship, and a safe and inclusive environment

• Help members to Improve their writing over time

 

Participation

1. Meetings start promptly at 1 pm unless otherwise specified.

2. All participants must sign the attendance sheet for insurance purposes.

3. The annual fee is set at $40 and payable in January with either cash or bank transfer, or the earliest meeting the member can attend.

4. There is no obligatory minimum attendance requirement.

5. Anyone interested in sitting in and listening without presenting is welcome for no charge.

6. A fee of $10 is payable for any non-member seeking critique of their work.

7. The work presented by each meeting attendee is limited to 1,000 words. Anyone going over this limit will be cut off.

8. The work presented must comply with Boroondara Writers’ Policy on the Use of AI Tools.

9. Work will be presented on a first come, first served basis. Members may negotiate with other members for earlier or later presentation times.

10. Members must provide 10-15 copies of their piece for critique at their own expense.

11. The Coordinator is not responsible for holding copies of the work members present.

12. Work presented at Boroondara Writers is the intellectual property of its writers. All copies must be returned to the writer even if there is no feedback.

 

Respectful Behaviour

1. Respectful behaviour is a condition of membership of Boroondara Writers. Members failing to behave respectfully will be asked to leave the meeting.

2. Discriminatory behaviour or language based on race, ethnicity, gender, sexual orientation, religion, or any other protected characteristic will not be tolerated.

3. All meeting attendees are expected to:

• refrain from talking while others are presenting

• listen to all critique respectfully

• refrain from arguing with another member over their opinion

• graciously accept critique of their own work, even if they do not agree.

 

Critique of your work

1. When it is your turn, do not explain your piece, just read it. Limit any explanation to only what is necessary (e.g. ‘this is a continuation of my novel ‘XYZ’; ‘this is a preface to my book’, ‘this is the first 1,000 words of a 6,000 word short story’).

2. If the work contains themes of a violent or sexual nature, inform the group first.

3. You may request specific feedback. (e.g. ‘I would like your thoughts on how I’m introducing character X’, ‘I would like your thoughts on the pacing specifically.’)

4. After you have read your piece, time is given for members to re-read and make notes on their copies, then some members will be called upon to comment verbally. They are asked to identify something that is working and to suggest an area for improvement, if any.

5. Attendees are not obliged to give critique on your work if they do not feel capable.

6. Do not defend your work and don’t argue with the critique. The group will tell you honestly, tactfully, what they have perceived about your work. You don’t have to agree. A response like ‘I’ll make a note’ or ‘I’ll think about it’ is all you need.  

7. You may ask for comment clarification if necessary, but please question the person in the break or after the meeting.

8. Be open to criticism. You will inevitably get contradictory comments about what is good and what needs work. There is no point in attending the workshop if you don’t pay attention to what has been said. You can decide a comment is wrong but if several people agree on something you should consider that before you ignore them.

 

Giving critique on others work

1. You may write as much or as little as you wish. It takes time to learn how to critique others work in short time frames and you are not obliged to write paragraphs. You can tick, double tick, or even triple tick things you like, and/or note the things not working for you.

2. Do not critique errors of punctuation or typing. If there are numerous mistakes throughout the piece, just add a general suggestion for a spell/grammar check at the end of the piece.

3. No personal criticism is allowed. People use writing to process the complicated world we live in. You may not agree and that is your right. But if you think you can not be impersonal in your critique or seek to criticise the subject matter rather than the writing, then DO NOT COMMENT.

4. Find something to be positive about. For fiction, think about character, setting, plot, conflict and theme. Try to note the writer's strengths as well as weaknesses. Think about:

• What were your favourite moments?

• Which descriptions made you feel most present?

• Which character(s) did you find most compelling?

• Did any plot shifts pleasantly surprise you?

• Did you feel lost at any point?

• Does the plot seem plausible?

• Is the pacing good, or did you feel rushed, or find yourself getting restless waiting for something to happen?

• Are there any continuity errors, like sudden name changes or location shifts?

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5. Keep verbal and written comments constructive. If you lost interest at some point, note the passages and then identify the parts that held your attention and suggest the writer keep that pacing throughout the piece. If a character left you cold, identify the characters that you found compelling, and suggest the other character/s be developed more like those. If a humorous piece is not funny, find the author's strengths (action, dialogue, description, etc.), and suggest leaving the humour out to let those strong points shine through.

6. Review the comments you wrote after your initial reading and add any specifics that might clarify your first impression. Harsh criticism only alienates the writer and doesn’t help them improve. On the other hand, a critique that finds no flaw is not helpful unless the writer’s work is truly perfect.

7. If time allows, do a second, closer, reading looking for continuity, character development, dialogue, descriptive passages and plot points. Make notes in the margin as you go.

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POETRY

If a writer says it’s a poem, it’s a poem. If you aren’t sure how to critique a poem, think about:

• The imagery invoked

• Whether you like its construction and/or presentation

• If it’s not rhyming, think about its organisation: stanzas, line breaks, specific form, free verse may rely on devices such as scattered rhyme, assonance, consonance, repetition, imagery, figures of speech, or space organisation

• How you felt reading and listening to the poem.

 

Prepared by Sarah Craze, Coordinator, Boroondara Writers Inc

Boroondara.writers.inc@gmail.com

Approved by members on 30 May 2026