The workshop (comprised of a different group than the one I was in) ridiculed her novel about a young widow. Lolly, to her credit, absented herself from the workshop and finished her novel. She sold the novel which climbed to the NYT bestseller list. Soon after publication, Good Grief was optioned by none other than Julia Roberts for a movie.
The Lolly Winston story exemplifies the hazards of writing workshops: mind-numbingly harsh feedback, overly critical members and unsupportive groups.
A good rule of thumb before enrolling in any independent writing workshop might be to ask these questions:
Who is teaching? What are his/her credentials?
How do their former students rate them?
What have their students gone on to accomplish?
Remember, in an independent workshop (as opposed to an accredited college class) teachers have not been vetted by strict administrations, do not adhere to a formal pedagogy, and cannot be relied upon to be the teacher that you need.
Barbara Kingsolver cautions to focus on your own voice and finding how best to express it to your own satisfaction first:
“Don’t try to figure out what other people want to hear from you; figure out what you have to say. It’s the one and only thing you have to offer.”
Writing Circles
Often peer-run, critique groups can also be a positive motivator to produce work. When you know that you will be presenting to the group, in some magical way, the pages get written. Writing circles are a lovely and low-key way to use peer pressure to motivate your writing process.
Jackie Berger is the author of four acclaimed books of poetry, three of which have won prestigious awards. She reports:
“I always tell my graduate students that the best aspect of the program (ours leads to an MA in English with a focus on creative writing) is the community of writers they join. The degree takes two years to earn, but if they can create an ongoing writing group from among their classmates, that will serve them well beyond graduation.
That’s what I did. Actually, it took just one woman in my MFA program to invite me to join her group. Twenty-three years later, I’m still meeting with these writers twice a month. They’ve seen me through four books of poetry, and I can say quite sincerely that I wouldn’t be the writer I am without them. By this I mean that they provide a concrete audience for my poetry. They also provide a deadline, the value of which should never be underestimated! Every other Wednesday night, I need a new poem. Yes, I’m too busy, too uninspired, too overwhelmed by life. And I need a new poem. My writing group gives me critical feedback, of course, but also a home for my writing practice—a place to take it. And this is invaluable.
Solitude is not the same as isolation. We write alone, but we don’t need to go it alone. And, in fact, much of my raw material is generated in a group setting as well. In addition to my Wed. group, I’m in a monthly Saturday group devoted to freewriting. We spend an hour or so eating, catching up, reading to each other authors we love. Then we each find a room in the house we meet in to write for an hour or two. After, we return and read to each other. No critiques; just reflecting back. I love a pressure cooker, and nothing like that actual audience on the other side of the wall to up the ante.
This is, of course, my process. And what works for me might not work for you. But the point is, writers need community, in whatever form, to tell us that what we have to say matters. That someone’s listening.”
Write-a-thons
A “Write-a-thon” is a time set aside to write with a group. A full Saturday. A weekend. Any time where the writer can give him or herself a stretch of uninterrupted time. The success rate is high. Think of it as locking yourself in a room, but with the pleasure of knowing that other people are doing it too.
Have you ever heard of NaNoWriMo? It’s National Novel Writing Month, and the idea is a fun, seat-of-your-pants approach to creative writing.
On November 1, participants begin working toward the goal of writing a 50,000-word novel by 11:59 p.m. on November 30.
Valuing enthusiasm, determination, and a deadline, NaNoWriMo is for anyone who has ever thought about writing a novel.
I’ve heard of writers drafting their novel during NaNoWriMo. Think of it as a version of Ishiguro’s Crash. It can be done.
Many writers will also dedicate valuable free time—and money—to attending writer’s conferences. Despite the time and expense, most attendees report that the jolt they get from the workshops and talks and being around other writers can be just what they need to get over that next hurdle or challenge.
From Writer magazine:
Writer Jennifer Mattson shares her top ten must-go-to conferences for writers, taking conference size, geographical locations, topics and experience levels into account. No matter your background, your interests or your budget, there’s a conference on this list for you.
1. The Muse and the Marketplace
Grub Street, a writing center in Boston, holds its annual conference at the Boston Park Plaza Hotel for three days each spring. The weekend draws over 140 well-known authors, literary agents, editors and publishers. (Disclaimer: I teach online classes for Grub Street.)
Past faculty: Charles Baxter, Colum McCann, Roxane Gay
Why you should go: It’s a large conference with more than 800 people on some 100 panels. It’s a good choice if you’re looking to survey multiple sessions or want a conference aimed at all levels.
Highlights: The Muse draws a number of top New York agents and editors. For an extra fee, you can pitch them one on one by signing up for the popular Manuscript Mart. Don’t miss the Shop Talk Happy Hour for guaranteed facetime with agents and editors if you’re looking to land a book deal.
Where: Boston
When: May
Website: museandthemarketplace.com
2. The American Society of Journalists and Authors Conference (ASJA)
The ASJA conference is held each spring in New York City. Specifically aimed at freelance journalists and nonfiction authors, the conference attracts some 500–600 people each year. The two-day gathering focuses on helping independent writers survive and thrive as freelancers. Programs include pitch sessions with editors, agents and publishers. Can’t make it to NYC? Regional conferences are typically held in the summer and fall in places like Chicago, San Francisco and Washington, DC.
Faculty: Speakers and attendees include editors and writers at The Wall Street Journal, Newsweek, The New Republic, The New York Times Book Review, The Atlantic, Family Circle, BBC Travel, Inc.com, Fortune, Fast Company, The Atavist, Seal Press and the Metropolitan Museum of Art.
Why you should go: This is the best conference for freelance journalists and those interested in pursuing a career as an independent writer.
Highlights: Networking with editors and other freelancers who understand what it is like to work for yourself.
Where: New York City
When: April or May
Website: asja.org/for-writers/annual-conference
