Category Archives: workshop

The Art of the Story Writing Workshop with Tom Jenks in San Francisco…..

I have not attended this workshop yet – but I will soon because I just got accepted yesterday. Yea! It promises to be amazing! Check it out…

One of my very sweet, and possibly delusional friends, mentioned that if I ever get famous enough for Mr. Jenks to admit  claim he’s worked with me, my name would appear below Kurt Vonnegut. That would not be awful! 😉

The Art of the Story with TOM JENKS

The class will meet every day for four days, with a morning workshop and an afternoon seminar focused on craft. For the seminar, there will be reading assignments and study of works by well-known writers. Each participant will have one manuscript workshopped in class and a second manuscript reviewed for an individual conference with Tom. We will study storytelling and the formal elements of fiction, including voice, point of view, characterization, imagery, plot, and theme. Attention will also be given to scene building, sentence making, and the dramatic movement of descriptive writing.

Enrollment is limited to twelve participants. (Acceptance into the class will be based on evaluation of a submitted manuscript.)

Class Dates:
San Francisco           January 15—18, 2015
San Francisco           January 29—February 1, 2015
San Francisco           February 26—March 1, 2015

Application deadline:

November 15, 2014

To apply or to receive more information:

  • Please send an email to Workshops.
  • The classes often fill quickly, well before the application deadlines, so if you’re interested in a class, we encourage you to contact us promptly.

WRITERS EDITED AND PUBLISHED BY TOM JENKS INCLUDE:

Rick Bass
Richard Bausch
Ann Beattie
T. Coraghessen Boyle
Janet Burroway
Robert Olen Butler
Michael Chabon
Frank Conroy
Don DeLillo
E. L. Doctorow
Andre Dubus
Stuart Dybek
Jennifer Egan
Gail Godwin
Donald Hall
Ron Hansen
Charles Johnson
Min Jin Lee
Bernard Malamud
Anthony Marra
Peter Matthiessen
Jill McCorkle
Arthur Miller
Susan Minot
Lorrie Moore
Alice Munro
Maud Newton
Joyce Carol Oates
Jayne Anne Phillips
Annie Proulx
Kirstin Valdez Quade
Philip Roth
James Salter
Scott Spencer
Robert Stone
John Updike
Kurt Vonnegut
John Edgar Wideman
Tom Wolfe
Tobias Wolff
Richard Yates
Alexi Zentner

If you enjoyed this post, you can read about other workshops here.

Why readings are important…

Over the past few posts, I’ve been chronicling my experiences at various writers conferences and workshops. You can check out the entire lineup here.

Many workshops offer the chance for participants to read their work aloud to a sympathetic and engaged group of readers. They will even clap loudly for you at the end, no matter how eloquently (or not) you were able to share your words.

I first realized that doing a reading was a possibility for me at the Yale Writers’ Conference a year and a half ago. Our workshop leader made the announcement as if she were adding broccoli to the lunch menu, “Oh, and by the way, you’ll all have a chance to do a reading. I suggest you try it. It’ll be good for you.”

That caught me completely off-guard. As you might have read here, insecurity ushered in my application for the Yale workshop. I mean, it’s Yale, right. And, as if submitting my novice work to be read and critiqued by others wasn’t brave enough, I was being encouraged to read it aloud. Where was that little tidbit in the application materials?

Honestly, the only reason I did it was so that, one day, when someone asks me if I have ever done a reading, I can answer, “Why yes actually, my first-ever reading was at Yale.” Hopefully, I won’t have to clarify, “Yes, the one in New Haven.”

So here’s what I learned about readings.

  • Readings are not in my wheelhouse. When I read in front of others, I sound like a hoarse frog that’s fallen off its very comfortable lily pad smack into very cold, murky water. Which is super weird because I’m quite comfortable speaking off the cuff in front of people.
  • Readings are an amazing experience. Ultimately, you’ll be glad you did it. Pinky swear.
  • Practice a few million times before you actually stand up to read.
  • Attend the readings of the other writers in the group and support them the way they supported you–clapping when they are done, not pointing out they sounded like a cold/wet frog, etc.
  • Respect the time limit. You will look like a disrespectful amateur if you don’t.
  • You must respect the time limit. (Nope, that’s not a typo. I meant to write it twice. 😉 It’s really important.)
  • Stop at a point that leaves the audience wanting to know more. This is especially true if you are selling books afterward.
  • Remember to breathe. If fact, if these were truly in order, time limit would be number one and this would be number two. Take breaths. Frequently.
  • Be familiar enough with your work that you can look up at the audience every now and then. It will make everyone more engaged. (If you’re like me, it might also make you more nervous when you look up and remember there are for real people in the audience. Just remember to breathe.)
  • And have someone take your picture.

Since Yale, I have read three other times. Once more at Yale, once at the Kenyon Review Workshop, and once at the One Story Workshop. I know. I know. I’m practically a frog professional.

Here is Yale. The first time.

2013_June_11_yale writers workshop_ellenweeren_99And the second time at Yale.

Yale Writers Conf 2014-Jun 09, 2014-10I much prefer the podium.

And here is One Story…see how I am getting more comfortable? Practice makes comfort.

one story workshop-224At One Story, I read a very personal piece–a poem about a friend’s suicide. Even though I wrote it about 3 years ago, I had not read it aloud before. This is a really important thing to consider. I knew this audience provided a safe, accepting place for me to read this very private poem and I wanted to share it. But, I broke down and cried half-way through. Someone in the audience reminded me to breathe and my fellow writers were extremely supportive, waiting for me to catch my breath. I wiped my eyes, sucked in a deep breath, and made it through the piece. But it was hard. Brave and hard. I have wondered if I should have read something else. I’ll never know if it was the right choice. I do know that everyone was gracious after and I hope maybe my words touched someone in the audience. A few people cried right along with me. I will forever be grateful for that.

So, if you get a chance to do a reading, do it! And if you participate in a writing group, consider making reading aloud part of the meeting. Each writer can just read a few pages–it doesn’t have to be the whole piece. Words have a different echo when they are thrown out to grab oxygen than when they are simply lying flat on the page. Reading them aloud will make you a better writer. Pinky swear!

It’s also important to attend readings of authors you admire. It’s a chance to thank them for the many hours they spend toiling away on a story that has touched you. And it’s often a chance to meet them and get them to sign your book. Squee! It really is important to become a part of the larger writing universe. We can’t spend all of our time at our lily pads in our own little corner of the pond. Reading and attending readings is a great way to accomplish that.

Yale Writers’ Conference (part 2)…..

If you were here yesterday, you’ve already seen Part I. But if not, you can click here to read it first.

Yesterday was about the speakers and the workshops, but today is about the other stuff–the friends you will make and the fun you will have.

I’ve met some amazing writers through Yale and I’m thrilled to say that many of them have also become friends. They inspire me, encourage me, and make me laugh.

2013_June_18_yale writers workshop_ellenweeren_748 2013_June_12_yale writers workshop_ellenweeren_159 Yale Writers Conf 2014-Jun 15, 2014-15Yale Writers Conf 2014-Jun 09, 2014-36I don’t have pictures of everyone I keep in contact with but these are my girls! They are talented, kind, and super fun to be around. In fact, making writer friends is probably the biggest benefit I can see in attending writers conferences. I’d say I make at least one new friend at every writer event I go to. No one in my house really cares too much about reading or writing (I know, I have failed them all miserably), so having friends who share the same passion is amazing.

I mentioned yesterday that dinner is not included in the tuition for the Yale conference. That gives you a chance to get out and explore New Haven. There are tons of restaurants–Chinese, Indian, Burger Joints, Pubs, Mexican. Here are some of my favorite places:

Tomatillo – think Chipotle but better. It’s super casual and not too expensive. No alcohol is served there.

2013_June_09_yale writers workshop_ellenweeren_22 2013_June_09_yale writers workshop_ellenweeren_23And then there is Oaxaca Mexican Restaurant. They have yummy guacamole and the margaritas aren’t so bad either.

2013_June_15_yale writers workshop_ellenweeren_572 2013_June_15_yale writers workshop_ellenweeren_571 2013_June_15_yale writers workshop_ellenweeren_570 2013_June_15_yale writers workshop_ellenweeren_569Then there is the Indian Vegetarian Restaurant Thali Too. Their dahl is dahlish!

2013_June_15_yale writers workshop_ellenweeren_315The Atticus Bookstore has yummy tomato soup and great salads and sandwiches.

2013_June_15_yale writers workshop_ellenweeren_420One of the places I enjoyed most was Mory’s. It’s a private club but they invite the writers from the conference to come anytime during their time in New Haven. The side patio is lovely.

2013_June_15_yale writers workshop_ellenweeren_321 2013_June_12_yale writers workshop_ellenweeren_160 2013_June_12_yale writers workshop_ellenweeren_157Ordinary has the most fabulous grilled cheese sandwich, but be patient, you might have to wait a while for it. 😉 I also loved the beet salad at the Heirloom Restaurant in The Study Hotel.

For the world’s most famous hamburger, go here. There is very little room to sit down, so plan on “to go”. Just fyi, they don’t offer many condiment options. Well, you can have ketchup, onions, or I think tomato. But nothing else. Think Soup Natzi. And learn from my mistake–do not, I repeat, do not ask for mayo. And, dear God, whatever you do, do not ask for french fries. It’s chips or nothing. Personally, I don’t get it. The meat was rawish and the burger is served on bread rather than a proper bun.  But, like, I said, the line was out the door.

Yale Writers Conf 2014-Jun 10, 2014-2 Yale Writers Conf 2014-Jun 10, 2014-4

Yale holds their conference in June. Both years that I attended New Haven was also hosting the Arts and Ideas festival at the same time. Bonus!2013_June_15_yale writers workshop_ellenweeren_240New Haven is full of amazing libraries and museums. You could easily spend ten days just sightseeing. There is the Peabody Museum of Natural History.

 The Sterling Memorial Library:

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The Bass Library:2013_June_09_yale writers workshop_ellenweeren_3

Yale University Art Gallery: 2013_June_15_yale writers workshop_ellenweeren_337 2013_June_15_yale writers workshop_ellenweeren_361 2013_June_15_yale writers workshop_ellenweeren_389 2013_June_15_yale writers workshop_ellenweeren_396

The Center for British Art:2013_June_15_yale writers workshop_ellenweeren_421

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The Beinecke Rare Book Library where you can see the Gutenberg Bible:

 

2013_June_15_yale writers workshop_ellenweeren_493 2013_June_15_yale writers workshop_ellenweeren_494 2013_June_15_yale writers workshop_ellenweeren_498 2013_June_15_yale writers workshop_ellenweeren_499 2013_June_15_yale writers workshop_ellenweeren_500 Some of the other fun things you will see around town:

Skull and Bones.

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It is an “ivy” league school after all. 2013_June_09_yale writers workshop_ellenweeren_8 2013_June_09_yale writers workshop_ellenweeren_9

Yummy kettle corn2013_June_09_yale writers workshop_ellenweeren_12 2013_June_09_yale writers workshop_ellenweeren_24 2013_June_09_yale writers workshop_ellenweeren_29 2013_June_10_yale writers workshop_ellenweeren_55 2013_June_10_yale writers workshop_ellenweeren_56 2013_June_10_yale writers workshop_ellenweeren_57 2013_June_10_yale writers workshop_ellenweeren_60

Some people say rubbing his foot will bring you good luck. Other people say that rubbing his foot will make you look like a dork. 2013_June_12_yale writers workshop_ellenweeren_129 2013_June_15_yale writers workshop_ellenweeren_224 2013_June_15_yale writers workshop_ellenweeren_235 2013_June_15_yale writers workshop_ellenweeren_237 2013_June_15_yale writers workshop_ellenweeren_242 2013_June_15_yale writers workshop_ellenweeren_246 2013_June_15_yale writers workshop_ellenweeren_257 2013_June_15_yale writers workshop_ellenweeren_291 2013_June_15_yale writers workshop_ellenweeren_293 2013_June_15_yale writers workshop_ellenweeren_317 2013_June_15_yale writers workshop_ellenweeren_326So, why are you still here? Log off and go get your submission ready! 😉

Yale Writers’ Conference (part 1)…..

When I decided that I actually am a “for-real” writer, I ordered The New Yorker because in order to be a “for-real” writer one must read The New Yorker. Right? R.I.G.H.T.

Flipping through the pages kind of felt like my 8-year-old-self wearing my mother’s high heeled shoes, mink stole, droopy pearl earrings, and possibly my grandmother’s satin opera gloves. But then I saw it–an ad for the Yale Writers’ Conference. I might have even giggled. It certainly sounded marvelous but I hesitated, thinking “Yale? Who are you kidding?”

Ultimately I thought, “Why not!”

I showed the ad to my husband. When he didn’t laugh, I took it as a sign that the universe was pushing my newly established writer-self out of the nest to test out my pencil wings.

So, I applied with the beginnings of my novel in progress “The Alligator Purse.” While I waited for a response, I reminded myself to breathe. And then I waited and waited, for what seemed like a really long time. Forever really. (That might have been a by-product of the watched in-box never boils syndrome. Maybe. Okay, probably.)

When the email came inviting me to attend, I was beside myself–proud, disbelieving, believing, and more than a little nervous. I mean, it’s Yale. What were they thinking letting me in but thank you Jesus, they let me in!

So if you have any of that self-doubt, erase it now. Right now. The Yale Writers’ Conference is so welcoming. They accept 140 people each year. So that’s 140 chances for them to say yes to you. And please know that you do not have to be an established rock star writer to attend. You do have to submit a quality writing sample that is polished and then re-polished. And then polished five more times. But, there is plenty of room for those who are early in their writing career. Please understand that this doesn’t mean there isn’t talent at the conference – there is and a lot of it! People who invest in their writing generally take honing their craft very seriously. (Remember I said to polish your submission! And then polish it again. And then one five more times.)

Terence Hawkins (with his trusted sidekick Victoria Rinkerman who is nothing short of amazing herself) is the man behind the magic that is the Yale Writers’ Conference. He is a writer himself and is eager to help all of us succeed.

Yale Writers Conf 2014-Jun 08, 2014-12

Here are a few things that are good to know:

The less expensive option is to stay in the dorms. The un-air conditioned dorms. When I was in college, I lived at home so I actually loved staying in the dorms. But they aren’t fancy and if you are used to your own bathroom and A/C, you should know that the dorms do not equal the Ritz Carlton. You should also know, however, that most people stay in the dorms and that it is fun to be there. (So it’s really a positive masquerading as a negative.)

The dorms are gorgeous (from the outside 😉 ).

2013_June_15_yale writers workshop_ellenweeren_255And they really aren’t terrible on the inside…

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Session I is ten days. That’s a long time to be away from work and family (possibly another positive masquerading. I guess that depends on your job and family. 😉 ). Session II is shorter if you really like your family and/or your job.

The rest is all up side.

Did I mention the conference is at Yale? Yes, “the” Yale that you’ve heard so much about. It’s magical to walk the streets of New Haven in the spring.

For ten days, you will talk and learn about writing with some very talented/committed/enthusiastic writers and instructors. You won’t wash any dishes or drive a car. If you pack enough clothes, you won’t have to do laundry. Someone will cook breakfast and lunch for you buffet-style. (Dinner is not included but New Haven has tons of fabulous places to eat.) You might not even watch tv. It’s heavenly. You’ll meet in large sessions to hear amazing guest speakers and you’ll meet in groups of ten to workshop each others writing. You’ll even get to attend one master class workshop with a guest speaker of your choosing (This is why it’s smart to apply early. The earlier you get accepted, the more choices you have.)

You will eat, sleep, and breathe writing for ten days. Ahhhhh.

In effort not to keep you reading this post for hours on end, I’m consolidating my experiences from two years into one post. (I’ve been to Yale for the past two years and the only reason I’m not applying this year is that my son is graduating from high school around the same time as the conference.) That means I won’t be able to tell you every fabulous thing about the conference, but here is some of what I learned…

From Richard Selzer (Mortal Lessons)

  • Don’t be timid: you can say in writing things you would never say aloud.
  • And don’t be afraid to tell lies: they give writing a vivid complexion.

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From Kevin Wilson (The Family Fang)

  • Writing is a muscle you have to exercise and you have to change up your routine to keep it all moving.
  • When building a story, instead of starting with a tree and adding ornaments to it, start with an ornament and build a tree to support it.
  • You might be the worst writer in the world, but if you write, at least you’ll have evidence to attest to that fact.

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From Deborah Treisman (Fiction Editor, The New Yorker)
She was asked “what makes a story stand out.” She answered that you just know it when you see it. She looks at the story’s ambition–what it’s trying to do–and figures out if it’s doing it.

2013_June_12_yale writers workshop_ellenweeren_135From Z. Z. Packer (Drinking Coffee Elsewhere)

  • Give the reader an image to start with. Then you can put that image into action: you can create symbolism with the image.
  • The readers want to see a journey with obstacles that add up to something. What the character wants will give them motivation–look at the “lack” behind that want. What will the want satisfy?
  • If you want to read a terrific article by Z. Z. Packer on writing short stories, click here.

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From Joe McGinniss (who sadly lost his battle with cancer this past year)

  • Especially in non-fiction, you are going to make people angry.
  • However, the worst thing is no reaction at all.

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From Tom Perotta (Nine Inches)
Get the story going before you give backstory.

2013_June_14_yale writers workshop_ellenweeren_209From Susan Orlean (Orchid Thief, Rin Tin Tin)

  • People can be made to care about things that seem ordinary.
  • Ultimately we end up writing to ourselves.

2013_June_18_yale writers workshop_ellenweeren_754From Sybil Baker (Into this World)

  • Short stories are almost always based on desire and characters are often responsible for their own problems.
  • Raise the stakes for your character on her original desire, rather than adding in new desires.
  • Dialogue is more interesting when characters are disagreeing or at least not agreeing.

Yale Writers Conf 2014-Jun 09, 2014-9

From Chuck Klosterman (I Wear the Black Hat)

  • You want the reader to be engaged with the text, themselves, and the world.
  • The first chapter makes an assertion that gets carried through the book. It’s important for the reader to get to know who she’s going to spend the next 250 pages with.

Yale Writers Conf 2014-Jun 10, 2014-12From Rob Spillman (Tin House)

  • When he reads a submission, he wants to forget he’s an editor and remember that he’s a reader.
  • The writer should establish authority in the first 300 words. Writers can do that through language, forward momentum in the story, stakes for the characters, and story questions.

Yale Writers Conf 2014-Jun 10, 2014-41

From Colum McCann (TransAtlantic)

  • Write what you want to know. You do not have to write what you already know.
  • There’s no true distinction between fiction or non-fiction: it’s all story-telling.
  • Beginnings are hard because they can go in so many directions, but the ending should be the one thing that has to happen.
  • Life is deeper than Google: you might have to go to the library.
  • It’s all shit, until it isn’t.

Yale Writers Conf 2014-Jun 12, 2014-4

From Clarence Page (Chicago Tribune, McLaughlin Group)

  • Be courageous and be persistent.
  • Some stories will work: some won’t. So what.
  • There is someone out there waiting for your story.

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From Rick Moody (The Four Fingers of Death: A Novel)

  • Rethink abstraction: it’s better to be fully grounded in things and scenes and people.
  • Use all five senses–remember smell is most closely linked to memory.
  • Read all of your work out loud, to someone else and your mistakes will be more obvious.

Yale Writers Conf 2014-Jun 14, 2014-10

Okay, I don’t know about you but I’m tired. So, I’ll be back later with more. (You can read Part 2 here.) Come back soon for Yale Part II. And you missed the other workshops I’ve written about, you can read those

Tin House Winter Workshop

Woodbridge Writers Retreat

 

Fall for the Book….

Fall for the Book is not so much a writing conference but it is a kick-arse literary event hosted by George Mason University. It’s a chance to meet some amazing writers who will read from their works and talk about their writing journeys. And, by the by, it’s free. Yes, that’s fabulous!

fallforthebooklogo-2014

This year the festival will run September 11th thru 18th. Most of the events are held on George Mason’s campus, but pay careful attention to the schedule, some events are off-campus.

I really consider this more of a reader’s conference than a writer’s conference – but hey, if you are a writer, uhm, you should also be a reader.

The link to the festival’s website is here.

The schedule is here.

The list of presenters is here.

Two things you don’t want to miss:

  • Jodi Piccoult (the recipient of the Mason Award) will speak on Friday, September 12th.
  • Richard Russo (the recipient of the Fairfax Award) will speak on Wednesday, September 17th.

Just in case you aren’t really clear on what the Fall for the Book Festival is, here’s what they say (taken directly from their website):

What began as a two-day literary event in 1999, organized by George Mason University and the City of Fairfax, has expanded into a week-long, multiple-venue, regional festival that brings together people of all ages and interests, thanks to growing community interest and generous supporting partners.

Each year, the festival:

  • Advances children’s education by hosting specially tailored writing workshops or readings for students at the elementary, middle and high school levels and by publishing an annual anthology of student writing in partnership with the Northern Virginia Writing Project and Dominion.
  • Makes literature fun by showcasing literary events in an active, engaging atmosphere that includes skits, dance, storytelling and more, and by introducing young people to living authors whose work they’re reading in the classroom.
  • Connects readers and authors at all levels, offering book lovers the chance to meet and greet their favorite writers and hear behind-the-scenes stories of writing and publishing.
  • Builds community by connecting with senior centers, book clubs, special interest community groups, libraries, bookstores and many others.
  • Encourages cultural diversity by combining common points of cultural reference with forums for discussion of our shared stories.
  • Gives sponsors a chance to support regional programs, and attracts the broadest possible cross-section of families and individuals throughout the area.
  • Fall for the Book, an IRS-recognized non-profit corporation, is governed by a board of directors that meets throughout the year.

Events take place at George Mason University’s Fairfax Campus, the festival’s base, and at other locations throughout Northern Virginia, DC, and Maryland.

If you are new here, welcome. This post is one in a series of entries about my experiences at various writing conferences this year. You can read about Tin House’s Winter Workshop here and the Woodbridge Writers Retreat here.

 

The Woodbridge Writers Retreat….

This is another post in my writers workshops series, where I give you the scoop on the writers workshops/conferences I attended this year. The Woodbridge Writers Retreat was hosted by Richard Bausch, Robert Bausch, and Tom Zoellner in May 2014 in Woodbridge, Virginia. If you are a reader/writer and you don’t know about these guys yet, you’ll be very glad you read this post. (Richard is on the left, Tom in the middle, Robert on the right.)

woodbridge Writers Retreat-May 16, 2014

I met Richard Bausch when I was an English Major at George Mason University a few years, ahem, okay, decades ago. He was the professor whose words stuck with me truly for a lifetime. When I was his student, he gave the class a short story assignment. I had never written a short story before and was completely intimidated. (Yes, the class was probably called “writing short stories” or something very vague like that–thank you for understanding why I was surprised by the work we were asked to do.)

Luckily it was a small class and he must have seen the look of shear dread in my eyes. He asked what was wrong. I sheepishly told him I didn’t even know where to start. (Yes, rookie mistake. Don’t ever let other people do the dirty work for you. In order for you to be invested in it, you must own every step of the process.) So he kindly created a prompt for me. I wrote a story based on that prompt and it was horrible. Absolutely horrible.

But rather than tell me to give up on writing, he told me the truth:
“You took the easy way out on this one. You can do much better than this.”

He was right. I had very much taken the easy way out. I wrote the story quickly and put it aside as if the first version of anything is ever good enough. I never edited it. I never reconsidered optional story lines. My characters were flat. It was awful. (No,  thankfully, I do not still have a copy of it. No need for such evidence.)

I was worse than a rookie. I was lazy. And embarrassed myself.

Fast forward many years later. I had joined a writing group and we decided to attend the AWP writers conference. When planning out what sessions I wanted to attend, I realized that Richard Bausch was going to be a speaker. Squeeeee.

So like a good little groupie, I excitedly waited for him to come into the session. As soon as he sat down, I rushed over to him and gushed about how he had been my professor and how he had inspired me by telling me the truth and blah, blah, blah. I even gave him a flashdrive with a copy of my work-in-progress to show him that I was no longer “taking the easy way out.” (Yep, still rocking the rookie. Thankfully I stopped short of asking him to sign my t-shirt.)

He was very sweet and said thank you. He even accepted my facebook friend request. But I didn’t really think I would get a chance to see him, much less work with him, again.

That is, until I met his brother Robert Bausch at the Algonkian Writers Workshop in Sterling, Virginia. He was a guest speaker and there were only about 8 of us at the conference, so we all got a chance to chat with him. He had us completely engaged. There is no doubt that Bob is extremely talented with many books, short stories, and even a movie under his belt. But he is also passionate. He reads like crazy, he teaches, and he writes every day. And he is funny as hell. (Just like his twin brother Robert. Yep, twinsies. Awesome.)

What I love most about Bob is that he loves writing and teacher writing, even after doing it every day for years on end. He hasn’t lost his zeal and that makes me hopeful that I won’t either. (Richard is the same way, by the by.)

As he was walking out of the conference, I asked him to please let me know if there were any workshops he was teaching and gave him my email address. When I hadn’t heard from him after a while, I went from rookie to near-stalker and googled “Bausch” plus “workshop” and found the Woodbridge Writers Workshop. His brother was going to be there too. Both Bausch Brothers at the same conference, teaching me? I might faint. Sign.Me.Up.Now.Please.and.Thank.You.

Tom Zoellner was also a workshop leader. I had not heard of him before but that was reader error on my part. He is a fabulous non-fiction writer and journalist. He takes subjects that most people don’t think too much about – speed traps in small-town Georgia or Uranium for instance – and writes engaging, almost fictionesque prose about it. He turns facts into stories and draws the reader deeply in.

The workshop was small–only ten writers. Yes, that’s right. Ten writers and three workshop leaders. That’s damn near miraculous. All three of the leaders are teachers as well as writers. Yes, that’s even better. The workshop lasted 3 days (Thursday, Friday, and Saturday).

We spent most of the time workshopping the different submissions, but we also had craft talks and ate dinner together each night which allowed the workshop discussions to continue on well into the night. Each writer was allowed to submit up to 20 pages. Each participant was expected to submit something and read/critique everyone else’s submission.

Because the leaders are so entrenced in the teaching world, many of the attendees were also teachers, either creative writing or composition. I loved that.

The feedback from this workshop was invaluable. The leaders spent a lot of time reading and considering everyone’s work. The attendees were also smart readers and invested time in each story.

These are the wonderful writers who attended the conference.

woodbridge Writers Retreat-May 17, 2014-2

Some of the advice/things we learned were…

  • Write your way to the end – don’t tinker with details until you get your story down.
  • Peter Taylor is a master of having the narrator tell the reader important info without the narrator understanding its full impact.
  • Writing a one sentence summary of each chapter will allow you to see the entire book as a whole.
  • When writing character remember to write this character, not just a character.
  • You want your readers to feel surprised at the exact moment they realize the inevitability of what’s coming. It should be an “Oh” and an “Aw” moment.
  • Move the most imporant piece of dialogue to the end of the line so it has more impact.
  • Perfect is the enemy of good. Feel free to write without judgment of quality – but in editing be heartless with the delete key.
  • Don’t write to make a point. Theme is generally accidental.

Richard also has a “ten commandments” list on his website. You can read that here.

As always happens at writers conferences, several books/stories came up as recommendations to read…

So there you have it. If you ever get the chance to attend this conference. Do it!

The link to the workshop is here.

Oh and it turns out that all three of the workshop leaders have books out this year.

Here they are …

Robert Bausch

before during afer

tom zoellnerYes, you should buy them all. Right now.

 

The Tin House Winter Workshop……

Throughout the next few posts, I will share my experiences at the writing workshops I’ve attended this year. (Spoiler alert – they were all really good and if you are a writer, you’ll want to know about each one.) I started off the year at the fabulous Tin House Winter Workshop. It was held at the end of January 2014 in a small town called Sylvia Beach on the Oregon Coast.

Imagine going here…

The Sylvia Beach Hotel

The Sylvia Beach Hotel

Where each room is decorated for a different author…

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Dr. Seuss room

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Emily Dickenson room. I was worried the room might be haunted. But no ghosts appeared or disappeared.

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Mark Twain room. It had a fireplace and a terrific view. A workshop leader got this room. ;)

And this is your view every.single.day…

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And a super sweet cat roams the halls…and your room, if you let her (if cats are a no-go, you can just keep your door closed). But she is so smooshy and sweet…

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And learning the craft of writing from Whitney Otto (How to Make an American Quilt, Eight Girls Taking Pictures, Now You See Her), Vanessa Veselka (ZAZEN, The Truck Stop Killer in Best American Essays), and Jon Raymond (Rain Dragon, The Half-Life)…

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All hosted by the talented and gracious Tin House folks who also shared their insights on writing and publishing and karaoke…

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Lance welcoming us – not doing karaoke.

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You even get to see the Tin House office space where all the magic happens…

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Yes, you might just think you’ve done died and gone to writers heaven, where muses sprinkle glitter out of magic pencils and writers block has been abolished because it’s been deemed too cruel a punishment for the creative mind to endure. Ah, yes, heaven indeed.

Tin House accepted 18 writers for the workshop out of 200+ applications. (The great news is that this year there will be two workshops – one fiction, one non-fiction – so 36 spots.) Yes, lucky me. But the real message here is polish, polish, polish before you apply. And then maybe polish one more time. Then set it aside for 3 days, and polish again. Rinse, repeat. Then apply.

The workshop was three days – workshops in the morning, panels/craft lectures in the afternoon. Each workshop group had only 6 writers – yes, that is beyond fantastic! We critiqued two manuscripts in each session, so each writer got about an hour and a half of dedicated individual attention and every participant provided written feedback, as did the workshop leader. The writing was top-notch and the participants were careful readers who offered tremendous insight into each piece. (My workshop leader was Whitney Otto – she was a very wise choice.)

One of the real benefits of workshops is that you get to analyze writing that is not your own. I tend to learn at least as much from the discussion of other writers works as I do from the discussion of my own. I’m not invested in their writing the same way I am invested in my own story and can see it as it truly is, not as it was intended to be.

Because it happened to me (no one else, just me), I will share a little bitty lessons-learned with you. So, if you want, you can meet at the Tin House office (yes, please) and ride with the other workshop participants to the hotel. If I remember correctly, it’s just under 2 hours. You do not need a car while at the workshop so this is a really great option.

Unless, that is, unless, you are someone who might get a tad nauseous in a warmish van filled with excited writers journeying up a curvy mountain road.

Ahem.

Maybe that was me. Perhaps I should have sat in the front seat. Undoubtedly I should have taken dramamine or at least TUMS, before–yes before–I got nauseous.

I started feeling cruddy and rested my head on the seat in front of me and the other riders started to worry and asked repeatedly if I was ok, which was very nice but when I raised my head to answer…well, let’s just say that probably didn’t help. 😉 I thought I could make it–until I finally realized I simply.could.not.make.it.one.more.curvy.turn and asked the driver to pull over.

But he couldn’t do that immediately. What? I hear ya. Excuse me?

Well, you see, the road is narrow (and curvy) without much of a pull off shoulder because it happens to be on.the.side.of.a.mountain. and there.wasn’t.a.lot.of.room. Whatever. This is a case where poor planning on my part does happen to constitute an emergency on your part. So Sorry.

The good news is that the driver was able to pull over quickly enough and I was able to dash out to the back of the van and lighten my nauseous load. The bad news is that the editors from Tin House and the workshop coordinator were driving by us just as I got sick. So much for fabulous first impressions. Ergh.

The best part of the story is that we were about 2 miles from Sylvia Beach when I got sick. Two minutes longer and I could have totally saved face. Oh well. Luckily, we all laughed about it later. The Tin House folks are gracious people and let me live it down (relatively) quickly.

Back to the workshop. Did I mention it was fabulous? Well it was.

Here are a few tidbits from what we learned:

– Tin House is a top-tier literary magazine–wait, we knew that already–but they reinforced that belief over and over again. Even though they have every right to be literary snobs, the people who work there are approachable, talented, knowledgeable, and supportive.

– If you want to be published in a journal, get to know the magazine–support it by subscribing to it, reading it, and sharing it with your writing community. But most importantly, get to know what kind of stories they publish.

– Don’t worry about what the story is trying to mean – you’ll see that at the end. And if you are lucky it will mean different things to different people.

– Be careful that multiple POV characters aren’t just telling the same exact story over and over. Each POV must move the story forward and reveal something new.

– Writing should feel a little out of control and not too neat. You can write the life out of something and make it feel dead on the page.

– Most professional writers are very open to editing. Not being willing to edit something you’ve written might will make you look like an amateur.

– Authorative voice is what the writer takes with her from piece to piece. The story varies but the authority remains.

– Narrative voice is the charisma on the page.

– If a story feels stuck about 1/3 of the way through, the writer might be relying too heavily on voice.

– Fiction allows the writer to take something private and make it public.

– We also learned about the fabulous essay by Betty Flowers called Madman, Architect, Carpenter, Judge: Roles and the Writing Process

At these types of workshops, books are always a big topic of discussion. Some of the book recommendations that came out of this workshop are (I’ve not read all of these, so I cannot testify to how good they are but these were some smart readers, so there you go)

Of course any of the books listed above by the workshop leaders
Glass Castle by Jeannette Walls (one of my favorite books ever)
Brain on Fire by Susannah Cahalan (very good)
The Buddha in the Attic by Julie Otsuka
Tiny Beautiful Things by Cheryl Strayed
The Moonflower Vine by Jetta Carleton
Telling by Marion Winik
Old School by Tobias Wolff
The Tenth of December by George Saunders

So there you have it – the Tin House Winter Workshop. Information about the 2015 workshop will be on the Tin House site sometime in September.  Tin House also hosts a summer workshop. Awesomesauce!