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 Miche Hu. Enjoy! –LV
The third day of One Story’s Summer Writers Conference began with another round of morning workshops led by Patrick Ryan and Will Allison. The afternoon craft lecture, which focused on the process of submitting work and getting out of the slush pile, was led by Hannah Tinti, One Story cofounder and author of the new novel The Twelve Lives of Samuel Hawley.
Tinti discussed what to do and not to do and what to believe and not believe when putting work out into the world. She outlined some important, often overlooked details of submission formatting while also highlighting the importance of heart and honesty when writing stories. Examples from her own experiences reading slush for The Boston Review and The Atlantic Monthly, as well as transcripts of rejection letters she had received for her own work helped writers to understand some of the challenges associated with submitting work. Particularly helpful were the different resources and anthologies to read and to use as resources for finding the places to submit.
Three trusted sources for Tinti are The Pushcart Prize Anthology, Best American Short Stories, and The O’Henry Prize Stories.
Tinti’s discussion of rejection letters, and their various forms, resonated with workshop writers. She broke down the differences between form rejections and more personalized rejections, and stressed that any letter that expressed interest seeing more of a writer’s work was cause for celebration. “You’re a writer if you’re writing, not if you’re published,” Hannah reminded us, echoing earlier advice from craft lecturer Myla Goldberg and the previous night’s agent panel. After the lecture, all were invited to peruse the many different literary magazines on display at the back of the room and take any home, with the knowledge that the work inside was borne out of both rejection and tenacity.
After a short break for writing and dinner, workshop writers reconvened at Community Bookstore for a reading of Lisa Ko’s debut novel, The Leavers. A One Story Debutante, Lisa Ko published “Proper Girls” in One Teen Story in 2013 (when her newly published novel was still being written—and rewritten). The novel follows the double narrative of Deming Guo and his mother, Polly. Having just returned from a week-long meditation retreat, Lisa Ko read an excerpt from the novel about last time Deming sees his mother, just before her disappearance. Deming’s observations of his mother reveal his own character traits—he remembers his mother’s hands rubbed raw and wishes for a super lotion that can grow her new skin, how she says motherfucker and he walks in step to the syllables as he practices the word.
During the Q&A, Ko and Patrick Ryan discussed how she used point-of-view to discover her characters, and her little celebrations after winning the PEN/Bellwether Prize. Both writers shared the various ways they disposed of unused pieces of their stories. Ryan does not delete anything, though he rarely revisits. Ko admitted that she will often remember certain sentences or descriptions and “pluck it from the graveyard”—the graveyard being the file where she stores her unused writing. Lisa also talked about how she perseveres through the difficult, stagnant moments by setting daily goals for herself: fifty rejections a day. “I like to aim for rejection,” she said. As the crowd listened to her novel excerpt and the tales of her struggles with the publication process, they were reminded of what often seems hidden from writers: publication is the outcome of a lot of “no.” But, as Tinti had stressed in her lecture earlier in the day, it’s not publication that makes a writer a writer—it’s the act of writing. The lesson learned on Day 3 of the Conference was simple, but not necessarily easy: keep writing.