{"id":1603,"date":"2013-04-15T09:00:57","date_gmt":"2013-04-15T14:00:57","guid":{"rendered":"http:\/\/www.littworldonline.org\/?p=1603"},"modified":"2016-11-18T22:35:58","modified_gmt":"2016-11-18T22:35:58","slug":"how-to-critique-manuscripts-in-languages-you-do-not-read-2","status":"publish","type":"post","link":"https:\/\/maiglobal.org\/pt\/how-to-critique-manuscripts-in-languages-you-do-not-read-2\/","title":{"rendered":"How to Critique Manuscripts in Languages You Do Not Read"},"content":{"rendered":"<div id=\"fb-root\"><\/div>\n<p><em>By Miriam Adeney\u00a0<\/em><\/p>\n<p>Working with writers using languages you don\u2019t read can be tricky. However, even if you cannot read every word of every piece, with a little help you can still provide critique.\u00a0 Here are a few hints on how to help writers make the most of workshops.<\/p>\n<p><strong>1. For your first public critique, select manuscripts in the language written by the majority of the class.<\/strong> Use these to demonstrate the application of the principles you have taught. Invite suggestions for improvement in organization, research, and biblical and cultural depth and balance. Modeling this process will help minority and majority language writers critique their own work.<\/p>\n<p><strong>2. Ask all writers to provide an outline for their manuscript in the majority language.<\/strong> Their outlines should include ideas, arguments, events and summarized illustrations in the order they appear in the writing.<\/p>\n<p>Simply by studying the outline, the class can formulate questions, such as:<\/p>\n<ul>\n<li><img fetchpriority=\"high\" decoding=\"async\" class=\"wp-image-1605 alignright\" alt=\"Miriam Adeney\" src=\"https:\/\/maiglobal.org\/wp-content\/uploads\/2013\/04\/Miriam-Adeney-300x225.jpg\" width=\"270\" height=\"203\" \/>Is there any research to support that point?<\/li>\n<li>Here\u2019s a suggestion for an illustration.<\/li>\n<li>Does the sequence of arguments make sense?<\/li>\n<li>Have you considered this cultural value?<\/li>\n<\/ul>\n<p>You may ask writers to translate paragraphs or the beginning and ending of their work to give a sense of style. Try to minimize your requests so as not to disrupt their creative process.<\/p>\n<p><strong>3. Require writers to find someone who reads his or her language to critique their work.<\/strong> This may be someone from the class, community or home region who can keep in touch via email. Provide a simple critique tool \u2014 possibly a series of questions \u2014 to help the reader offer feedback on strengths and weaknesses.<\/p>\n<p>Put these tips into practice and you should be able to offer useful advice on ideas, organization, research, audience and some aspects of style to all members of your class, regardless of their language. Plus, writers will complete the workshop with practical tools for future critiques.<\/p>\n<p><strong>Photo above:<\/strong> Miriam Adeney (right) leads an MAI workshop for Middle Eastern writers creating books in Arabic.<\/p>\n<p><i>Author and educator Miriam Adeney equips and encourages emerging Christian writers around the world. She is a trainer for MAI and a former board member. Miriam has written several books, including her most recent release, <a title=\"Kingdom Without Borders\" href=\"http:\/\/www.amazon.com\/Kingdom-Without-Borders-Untold-Christianity\/dp\/083083849X\">Kingdom Without Borders: \u00a0The Untold Story of Global Christianity<\/a>. \u00a0<\/i><\/p>","protected":false},"excerpt":{"rendered":"<p>By Miriam Adeney\u00a0 Working with writers using languages you don\u2019t read can be tricky. However, even if you cannot read every word of every piece, with a little help you can still provide critique.\u00a0 Here are a few hints on how to help writers make the most of workshops. 1. For your first public critique, [&hellip;]<\/p>","protected":false},"author":4,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"give_campaign_id":0,"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"iawp_total_views":4,"footnotes":""},"categories":[41,12,161],"tags":[26,18,107,100,169,170,60,15,16,61,124,70,67],"class_list":["post-1603","post","type-post","status-publish","format-standard","hentry","category-editorial","category-mai","category-training","tag-books","tag-christian","tag-literature","tag-mai","tag-middle-east","tag-miriam-adeney","tag-publish","tag-publishing","tag-reading","tag-tips","tag-training","tag-workshop","tag-writing"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.9 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>How to Critique Manuscripts in Languages You Do Not Read - Media Associates International<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/maiglobal.org\/pt\/how-to-critique-manuscripts-in-languages-you-do-not-read-2\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"How to Critique Manuscripts in Languages You Do Not Read - Media Associates International\" \/>\n<meta property=\"og:description\" content=\"By Miriam Adeney\u00a0 Working with writers using languages you don\u2019t read can be tricky. 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