“We need to stop pretending the story just comes on its own and isn’t within the writer’s control.” Matthew Salesses and Ayşe Papatya Bucak talk craft, workshop, and his new book, Craft in the Real World, out now from Catapult.
Travis Holland on Nicholas Delbanco as a master teacher, as well as Delbanco’s approach to running a writing workshop that matters: “This is good, now let’s make it better.”
Author and teacher Alexandria Marzano-Lesnevich says YES—and in fact, she hopes more people will say it. Writes Marzano-Lesnevich: [W]orkshop students tend to forget that they’re required to be there. I don’t mean in attendance, sitting around a large table, but rather in the page—in the world of the story. They’re required to read. They’re even required to finish the piece. This simple requirement changes everything about their relationship to what’s on the page. I’ve come to think that this gap is at least partially responsible for stories that do well in workshop sometimes floundering out there in the real world. […]
Before submitting stories to workshop in graduate school, I spent hours combing my sentences for inefficiencies. I scrutinized verbs. I wrenched clauses from passive construction. I asked myself some hard questions about adjectives. My classmates often called my writing “clean,” which pleased me. I aspired toward concision. One term workshop was led by an intimidating man largely considered a genius among the graduate students. He introduced us to Chekhov and eviscerated stories with uncanny precision. When my turn came, I was nervous—with good reason. The week my story was up, he sent an email asking everyone to bring three pages […]
