Dear Readers: This week One Story is hosting our 8th annual Summer Workshop for Writers. Our current interns, Hannah, Olivia, and Miche will be chronicling each day here on our blog, giving a peek into what we’re doing at the Old American Can Factory in Brooklyn. Today’s write up is by Hannah Johnston. Enjoy! –LV
On the penultimate day of our conference, after another morning of workshops followed by lunch in the Canteen, Julie Buntin, author of the novel Marlena and an editor at Catapult, gave a craft lecture on how to successfully revise and edit as a writer. Buntin discussed her experiences as an editor working with writers and how she’s developed an understanding of the way editors edit and the way writers ought to approach the process of revision.
Buntin began her lecture with a line-edit exercise on a short excerpt from James Fenimore Cooper’s novel The Last of the Mohicans; a passage that was used by editor E.L. Doctorow to make a point about the value of concise writing. She worked with conference participants to find the places in the narration where there was superfluous language.
Once they shaved the language down to the necessary elements of the excerpt, and made the prose far stronger, Buntin moved beyond line editing to talk about what writers need to do in order to revise their own work effectively. She explained that the most important thing you can do in your revision process is determine the fundamental truths of your story, and to then use those truths to hold your work to.
Buntin had the group read the short story “Spring in Fialta” by Vladimir Nabokov in preparation for the lecture. The story is about a man named Victor and his final meeting with Nina, a woman with whom he’s been on the verge of having an affair as long as they’ve known each other. Buntin acknowledged Nabokov’s ornate and over-the-top prose, but she also said that it all seems necessary to the fundamental truths of the story. For example, Nina herself is never really standing or sitting still in the narrative, and this relates to the fact that she’s never been a still or solid aspect of Victor’s life— she’s always been slightly out of frame.
Buntin also talked about her work as an editor at Catapult, and how the questions about fundamental truths have come into that work. At the beginning of her talk, she had conference participants write down something that they felt was an essential truth about their work, and at the end of the lecture she gave them a related writing exercise: write a paragraph in your story which operates as if that essential truth is no longer true or essential. The writers found this exercise very helpful, and many were able to view their work in a new lens thanks to their letting go of certain assumptions. Buntin left the workshop participants with this idea: By asking what the fundamental truths of the story are, a writer will be able to edit and revise effectively.
After a quick break and opportunity to chat with Buntin, participants made their way down to the Canteen to hear a valuable talk from One Story editors Patrick Ryan and Ann Napolitano on how to give a good public reading. Both Ryan and Napolitano admitted their initial shyness and stage fright in the beginning of their careers. They’ve had to overcome great anxiety in order to give successful readings of their work, and they gave the workshop participants a list of dos and don’ts that they’ve picked up over the years.
- Don’t go over your time— never, never, never. Everyone, the audience and the the other writers set to give readings, will love you for it. It leaves the audience wanting more, which is way better than leaving them wanting less.
- Don’t read too fast. Napolitano explained that this is the most common mistake a reader can make, because people speak more quickly when they’re nervous. Reading your work too quickly prevents your audience from being able to settle into the narrative.
- Don’t read too quietly. One of the worst things that can happen at a reading is for an audience member to yell, “LOUDER!”
- Don’t choose a section that requires a lot of exposition. If you need to describe the Civil War in order to set up the passage you’re reading aloud, people will be overwhelmed with information and won’t be able to properly follow along. It should only take one sentence (or less) to set up your passage.
- Don’t choose a section that contains dialect, foreign language, or anything else you won’t be able to pronounce correctly or speak fluidly. Ryan went for a large portion of his life believing that chasm was pronounced with a soft ‘ch’, like the sound in cheese. In reality, chasm is pronounced with a hard ‘k’ sound, and he was once mortified after a reading when a friend told him he was pronouncing the word incorrectly.
- Stay within your time. Both Napolitano and Ryan re-emphasized that this is VERY IMPORTANT.
- Read more slowly than you think is normal. Often, we feel like we’re speaking way too slowly when we’re actually speaking at the perfect speed to keep the audience engaged. Try to take deep breaths and beats between words and sentences in order to keep yourself from speeding up.
- Read at a good volume. Again, it stinks to have someone yell “louder!”
- Maybe, if you can, try to choose a selection that will garner a reaction from the audience. Ryan likes to select something funny or shocking, and this way he is able to tell that the audience is engaged. He also mentioned that it’s okay to go with something sad or solemn as long as you prepare yourself for deadly silence from the audience.
- Pretend to be a great writer. At the start of her career, Hannah Tinti, One Story co-founder, used to pretend she was the excellent public speaker Elizabeth Gilbert when she went onstage. Now, Napolitano often thinks about how Hannah herself would give a reading!
- Look up every once in a while. It can be awkward to make eye-contact with a specific audience member, but it always helps to look up, perhaps just above the heads of the crowd, in order to give the impression that you’re engaged with your audience.
- PRACTICE, PRACTICE, PRACTICE! Before the first reading she had to give since she’d bombed a public speaking gig in high school, Napolitano read aloud the passage she had prepared to her husband every day for a month. By practicing your reading, it can almost become muscle memory, and it will make it so much easier to fight your nerves when the time comes.
While Napolitano and Ryan gave this talk in anticipation of the readings that will be given by the conference attendees themselves tomorrow, they explained that these rules can and will apply to any readings that the talented writers will be giving in the future.
After a break for writing and dinner, it was time for a panel of editors to come and answer questions with Lena Valencia, One Story’s managing editor. The panel included: Katie Raissian, editor and publisher of print magazine Stonecutter Journal and an editor for Grove Atlantic; Jenny Jackson, a senior editor for Knopf and Doubleday (imprints under Penguin Random House); Brinda Ayer, managing editor for Restless Books; and Margaux Weisman, who works as an editor for Vintage Anchor and Knopf Doubleday.
The four editors discussed they look for in the manuscripts. Jackson said that debut books are especially exciting, and that the voice in the writing is most often what gets her antenna up. Weisman expanded on this, adding that even if the plot doesn’t work as well, a good style in writing will always catch her eye.
Valencia then asked the editors what they think writers can expect the differences between publishing a book with a large publishing house and a small publisher might be. As an editor at a small publisher, Grove Atlantic, Raissian was enthusiastic in explaining the benefits of her house’s size. Writers get a ton of personal attention, and the staff works very closely with them to make sure their works are published carefully. Every writer at Grove Atlantic is given the same amount of time and effort because Grove editors only buy books they’re very passionate about. Grove was the only publisher that wanted The Sympathizer by Viet Thanh Nguyen, and now it’s a Pulitzer Prize-winning novel. Passion is what drives them, and it usually pays off.
Knopf is different from other large publishers in the sense that it’s a relatively independent imprint of Penguin Random House, but they still garner big house benefits. Jackson talked about how beneficial it can be to have a large corporate connection, as they have larger budgets for advertising as well as a great deal of research on what works best in selling a book. She also felt, however, that Knopf has been able to successfully retain its identity despite its corporate parent, and that passion plays a great role in her book decisions as well.
All four of the editors went on to explain that chemistry between editors, writers, and agents is usually the biggest predictor of success. Many of them had stories about losing books that they loved because of a much larger advance offered by a competing publisher or a disagreement over an edit. While it stings to provide edits to someone only to have them work with another house, they ultimately want there to be as many great books out there as possible, and if they can contribute something positive to a good writer’s work, it’s a job well-done.
After the panel was over, conference attendees enjoyed a wine and cheese reception with the editors, and were able to ask more questions and get to know the industry better. After a long day of activity, everyone was happy to get back to their homes and hotels in order to recharge in preparation for the final day of the One Story Summer Writer’s Conference.