This Friday marked the close of One Story’s fifth annual workshop at The Center for Fiction. Tea and coffee helped ward off the last-day-of-camp blues before students entered into their final workshops with Marie-Helene Bertino and Will Allison. They were reluctant to leave their workshop rooms, lingering to have story collections signed and group photos taken. One writer told me, as she headed for the elevator, “We all love each other now.” While One Story’s romcom may not be The Notebook, it does make for lasting writerly connections. Together we ate a final lunch of pizza and chatted about ways to keep in touch.
We gathered after lunch for a craft lecture by Hannah Tinti, the editor in chief of One Story, on getting “out of the slushpile”. She told us how to manage the business side of being a writer, by walking us through how to get our work published, starting with the basics of preparing it for submission (use a simple font like 12 pt. Times New Roman, number your pages, double-space, etc.), and figuring out where to send–be that to magazines, agents, or small presses. She showed us samples of query letters, and then shared some of her own rejections to show how there are different “levels” of rejection, and finally, what to do if and when you get an acceptance. But Hannah was also clear that “you are a writer if you’re writing, not if your work is published.” She ended the lecture with a quote from Barbara Kingsolver regarding rejected work. “This manuscript of yours that has just come back from another editor is a precious package. Don’t consider it rejected. Consider that you’ve addressed it ‘to the editor who can appreciate my work’ and it has simply come back stamped ‘Not at this address.’ Just keep looking for the right address.”
Time for celebration! After hours of workshops, panels and talks, we travelled home to One Story’s office at the Old American Can Factory in Brooklyn, where students were able to see where the work behind publication occurs. We saw Patrick Ryan’s desk with its strikingly intellectual desk lamp, Hannah’s desk with drawings of demons, the calendars showing our publication schedule, the table where the editorial meetings occur, and, most importantly, the coffee machine that brews our coffee.
Then to The Cantine, the restaurant within the Old American Can Factory. Conference Director Michael Pollock began the night by recognizing the students’ endurance, “I hope you don’t want to write tomorrow. I hope you don’t want to write Sunday. But on Monday, I want you to write, and that’s when this workshop will matter.” Marie and Will thanked their classes, recognizing how easy it was to teach such brilliant people. Then each student gave a three-minute reading at our open mic. Their pieces were beautiful, competent and honest. As were Michael’s physics and whale jokes as he acted as our MC.
Maribeth Batcha, our publisher, and Hannah closed the event by welcoming the students to the One Story family. Writing is about community, so it was only fitting that after a delicious dinner catered by Runner & Stone, we took many class (or should I say family?) photos.
Hannah ended the night with Lauren Groff’s writing advice from “Writing Advice from the Authors of One Story”, a special edition of One Story magazine, that was printed and given out to all the students as a parting gift: “Give yourself the grace of failure – most good stories are made up of hundreds of invisible previous failures; read everything you can get your grubby mitts on; excise people from your lives who bring up turmoil and darkness, then write them clean in your fiction; if you have talent, it is a gift, so try your best to honor you gift by developing it; write every single day, because if you wait for the Muse to land she’ll cackle as she flies on by; don’t worry about publishing because if you write from a place of love and gratitude you will publish; try not to listen to advice about writing because the most important things you learn are things you’ll teach yourself.”