Readers and writers, One Story’s fifth annual workshop has begun! Some travelled thousands of miles, others dozens of city blocks to arrive this morning at New York City’s Center for Fiction. Ahead of us lies a week of craft lectures, agent panels, guest author talks, and workshops. Hannah Tinti, the Editor-in-Chief of One Story, welcomed students with coffee and tea before they split into their morning workshops led by our instructors, Will Allison and Marie-Helene Bertino.
After a lunch of tacos, salad and salsas so hot that they brought tears to our eyes, we sat down with Hannah, Will and Marie for a brief insight into the writerly lives of working authors. Each spoke of their path to writing, which featured ceiling-high piles of submissions and many rejection letters. Will Allison talked about his journey as a writer and an editor, and how, when he started working at Story magazine, it challenged him to make his own work better. Hannah then opened the panel to questions. “Describe your style,” one student asked. “Dark, twisted, funny,” she replied. When asked to give writing advice, Marie-Helene Bertino encouraged students to wander the streets of New York. Eavesdrop. Open your eyes. New York City will write the story for you.
After several hours talking about writing, it was time to get down to business. Hannah led a writing exercise given to her from one of her own mentors, Dani Shapiro (author of the great book Still Writing). The exercise is derived from Joe Brainard’s I Remember. She read from Brainard’s book:
“I remember the first time I met Frank O’Hara. He was walking down Second Avenue. It was a cool early spring evening but he was wearing only a white shirt with the sleeves rolled up to his elbows. And blue jeans. And moccasins. I remember that he seemed very sissy to me. Very theatrical. Decadent. I remember that I liked him instantly.”
Students wrote their own stories built of “I remember”, and shared their memories with the class, which were full of sharp details and all kinds of interesting experiences.
In the evening, Irina Reyn gave our first craft lecture on perspective. Using Frederick Reiken’s 2005 essay on the “author-narrator-character merge,” she revealed techniques of varying closeness and distance in narration. “The one that feels the most on fire, that’s the right perspective,” she said.
I (will) remember the first day of the One Story workshop. Stay tuned for more updates!