A hearty thanks to the teachers and mentors of the world. I am so blessed to have so many wise and kind individuals help me achieve my dreams -- personal, professional, and artistic.
I found myself grinning on the metro ride into work this morning when, flipping through my Poets and Writers, I saw this article -- Face the Fear -- by Rachel Kadish. You'll have to read the entire column in the paper version of P&W.
A faculty member of the MFA Program in Creative Writing at Lesley University, Rachel is an amazing, moving writer who creates unforgettable characters (Read: Tolstoy Lied: A Love Story and From A Sealed Room). I'm the lucky one; she taught me much last summer when I attended a writing conference.
Who has influenced the way you live? Who has taken the time to teach you a skill or further your genius?
And don't forget to pay it forward every chance you have. Peace, Linda
Showing posts with label Rachel Kadish. Show all posts
Showing posts with label Rachel Kadish. Show all posts
Wednesday, August 25, 2010
Wednesday, August 12, 2009
All Worked Up
I recently returned from my first-ever, face-to-face writing workshop. Sure, I've gone to writing conferences, most of them chock-o-block with one hour quickie craft seminars and those oh-so-lovely pitch fests. But this past spring I was feeling masochistic, a little itchy to get reamed, truly reamed, by folks who know what they're doing. Plus, I thought a workshop intensive was one way to try an abbreviated version of an MFA program. So the last week of July I sojourned to Cambridge, conjoined with Boston in my mind as the place I came of age.
Lesley University's summer writing conference is not for those who envision munching bonbons while idly discussing the niceties of third person versus omniscient voice. Sure, we chatted about that sort of stuff, usually over meals, but for the most part it was constant immersion in craft and critique. For five days, I rised and shined for workshop from 9-12, then gobbled lunch, followed by an afternoon of craft sessions and readings. After another hasty dinner, there were evening readings by resident and guest faculty until 9. Of course, afterwards I was so exhausted yet simultaneously ennervated by caffeine and ideas that walking to any of the squares (Harvard, Porter, Central, Inman - I hit them all) for ice cream and beer with classmates was de rigeur. Then there were assignments to complete, and the cycle repeated itself.
So what's it like to be 'workshopped'? Somewhat intimidating. Classmate Thomas and I walked the plank first. We prepared approximately 4000 words of a work in progress, which our fabulous instructor Rachel Kadish (more on Rachel in a separate post) and fellow students (there were six of us in all) read in advance.
I workshopped the opening of PURE. A little scary because this novel is so in progress. Plus, my head was with another character from another story, so I struggled to sink into the chapter's cannibalized mice and the funeral.
At the table, I was instructed not to talk. Those of you who know me understand how difficult it is for me to zip my lips. Rachel opened up with the question: "What is this story about?" Which is a wonderful way to approach critique because you can see immediately how clearly (or not) you've told your story. Also GREAT fodder for pitches. Then discussion opened up: what worked? what didn't? what confused? was the prose sufficiently elevated? did the characters ring true? did POV work? tense? were writing fundamentals present? was the research sufficient? And so on.
After more than an hour of such disembowelment (PURE, not me), I was granted the floor to clarify remarks and ask questions of my own. Later, I reviewed everyone's extensive written line edits and globals.
What a rich experience. And an illuminating one. While my prose more than passed muster and the story itself was deemed compelling, it turns out I had a few too many balls in the air, which confused my classmates and instructor. In other words, exactly where was this story headed?
My new mantra: clarify, clarify, clarify. I'm revising PURE now, using these golden kernals as my guideposts.
Have you ever been workshopped? If yes, was it worthwhile? If no, would you?
Peace, Linda
Lesley University's summer writing conference is not for those who envision munching bonbons while idly discussing the niceties of third person versus omniscient voice. Sure, we chatted about that sort of stuff, usually over meals, but for the most part it was constant immersion in craft and critique. For five days, I rised and shined for workshop from 9-12, then gobbled lunch, followed by an afternoon of craft sessions and readings. After another hasty dinner, there were evening readings by resident and guest faculty until 9. Of course, afterwards I was so exhausted yet simultaneously ennervated by caffeine and ideas that walking to any of the squares (Harvard, Porter, Central, Inman - I hit them all) for ice cream and beer with classmates was de rigeur. Then there were assignments to complete, and the cycle repeated itself.
So what's it like to be 'workshopped'? Somewhat intimidating. Classmate Thomas and I walked the plank first. We prepared approximately 4000 words of a work in progress, which our fabulous instructor Rachel Kadish (more on Rachel in a separate post) and fellow students (there were six of us in all) read in advance.
I workshopped the opening of PURE. A little scary because this novel is so in progress. Plus, my head was with another character from another story, so I struggled to sink into the chapter's cannibalized mice and the funeral.
At the table, I was instructed not to talk. Those of you who know me understand how difficult it is for me to zip my lips. Rachel opened up with the question: "What is this story about?" Which is a wonderful way to approach critique because you can see immediately how clearly (or not) you've told your story. Also GREAT fodder for pitches. Then discussion opened up: what worked? what didn't? what confused? was the prose sufficiently elevated? did the characters ring true? did POV work? tense? were writing fundamentals present? was the research sufficient? And so on.
After more than an hour of such disembowelment (PURE, not me), I was granted the floor to clarify remarks and ask questions of my own. Later, I reviewed everyone's extensive written line edits and globals.
What a rich experience. And an illuminating one. While my prose more than passed muster and the story itself was deemed compelling, it turns out I had a few too many balls in the air, which confused my classmates and instructor. In other words, exactly where was this story headed?
My new mantra: clarify, clarify, clarify. I'm revising PURE now, using these golden kernals as my guideposts.
Have you ever been workshopped? If yes, was it worthwhile? If no, would you?
Peace, Linda
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