Last week, we hosted twenty writers at The Old American Can Factory for a week of workshops with instructors Lisa Ko or Will Allison, craft lectures, readings, and panels. Our intrepid interns—Evy Constant, Carly Frederickson, Jacob Maren, and Andrea K. Oh—spent the week documenting the events. Here are their recaps!
Day 1: Welcome
As temperatures climbed into the triple digits outside, we welcomed twenty writers into our home at the Old American Can Factory in Gowanus, Brooklyn to kick off the 2019 One Story Summer Writers Conference. Students were introduced to the entire team and got to know each other during an hour filled with cocktails and conversations with fellow writers. The classes only last a week at One Story, but many came to realize that the friendships made this week can last a lifetime. —Jacob
Day 2: It’s About Time!
During the first craft lecture of this year’s Summer Writers Conference, One Story’s editor-in-chief Patrick Ryan discussed the importance of economy and time management in writing. Ryan explained that, although writers often attempt to illuminate their character’s experiences by extending scenes and trailing their actions very closely, this can sometimes lead to stagnation in the story’s action—the dreaded “boredom” all writers fear their readers feeling.
Rather than attempting to control everything in every moment of a story, Ryan pointed out that writers must avoid over-choreographing: you must determine what your story is really about, then use that knowledge to figure out which scenes should take up time and which you should compress. Essentially, Ryan explained that “it’s about keeping the reader’s attention where you want the reader’s attention to be.”
Ryan emphasized that this is something all writers do; we all tend to expand scenes unnecessarily because “nobody’s got it figured out. It’s not about trying to be an expert when you’re writing.” Instead of trying to get it perfect the first time, writers should work to incorporate narrative compression into their revision processes. To this point, Ryan shared that his ideal reader—and perhaps to some extent, all of our ideal readers—should be one who suffers from extreme impatience; one who urges us to “spit it out. Get to it!”—Evy
Day 3: How Does She Do That?
How does she do that? This the question Myla Goldberg posed at the start of yesterday’s craft lecture, a discussion of Lauren Groff’s short story, “L. DeBard and Aliette” from her short story collection Delicate Edible Birds.
During this craft talk, Myla went into a deep analysis of the short story and covered a lot of ground, discussing everything from time to suspense to POV to character building to sex. One of the overarching lessons that Myla presented was how Lauren Groff builds worlds through different perspectives. Groff’s ability to alternate point of views seamlessly, going from a God’s eye view to different close character perspectives, draws us into the world of the story.
In a short Q&A following the talk, Myla addressed the crowd’s questions about her own personal experiences in the literary world. She ended with this piece of advice: “Take ten minutes a day to read over what you’ve been working on.” Our lives might be too busy for us to write every day, but we always have time to interact with and think about our writing despite all the distractions inhabiting the space around us.—Jacob
Day 4: The Vampiric Research Method
During the third craft lecture of this year’s Summer Writers Conference, One Story co-founder Hannah Tinti provided listeners with an abundance of practical tips for getting one’s work out of the slush pile. Her talk guided conference participants through various aspects of the publishing process, such as how to prepare your work for submission, how to decide which magazines or agents to send your work to, and how to handle rejections and acceptances.
She stressed the importance of submitting a manuscript that conforms to industry standards (double-spaced, 12 pt. Times New Roman font) and went over how to write a professional, informative cover letter. She also introduced conference attendees to a variety of anthologies such as Best American Short Stories, The Pushcart Prize, and The O. Henry Prize Stories, all of which can be used as tools for becoming acquainted with different literary magazines and discovering which ones best fit your work. Tinti shared her method of creating different tiers of magazines to send work to as well, making sure you have a variety of different options.
Tinti reminded us that along with submissions often come rejections, but also that many extremely successful books faced a large number of rejections before they were published and praised. She concluded her talk with an important piece of advice: Publication is not what makes you a writer; writing is what makes you a writer.—Evy
On Wednesday night, One Story co-founder Hannah Tinti talked with Irina Reyn at Community Bookstore about Reyn’s incredible new novel, Mother Country. Their conversation was filled with writing tips and tricks, anecdotes about the creative process, and laughter, ending with an audience Q&A that (surprisingly) included vampires!
“I operate on what I call ‘vampiric research,’” Reyn told the crowd, “which is that I’m only sucking the blood that I need. You’re only using what you need, and you’re not getting distracted by things you don’t need. So, in other words, you’re only using the things in service of the story you want to tell.” —Andrea
Day 5: Writerly Self-Compassion
On Thursday’s craft lecture, Rakesh Satyal drew on anecdotes from his vibrant literary career to advise our summer conference participants as both a fellow writer and as an editor. Above all was his desire to see them—to see all writers, really—develop their writing lives. Satyal emphasized that one needs to be intentional about one’s writing life, highlighting the importance of dedicating time to writing. This, however, was not to say that writing must, or even should, happen every day; in his words, “You have to identify for yourself what feels productive. You know when you’re doing the work.” Later, Satyal discussed the need for writers to allow themselves the space to think on a macro level, to have a sense of the larger ideas or themes they’re writing towards. “Be a good literary citizen,” he said, which, at its core, means treating writing as a legitimate and necessary profession. Up-and-coming writers, he said, can practice good literary citizenship by paying attention to what’s happening in the “literary world,” talking with others about their own writing and buying of books, and, instead of trying to emulate prominent authors, working on honing/owning their unique perspectives. Of perhaps the most importance, though, was his view on writerly self-compassion: “Let yourself know when you’ve done good work.” —Carly
Day 6: Pay Attention To What You Pay Attention To
For the final craft lecture of our Summer Conference, our very own Ann Napolitano discussed the importance of writers living in service of their work. In the first of three sections, titled “Paying Attention,” Napolitano centered on the need for writers to pay attention to the things that hold their interest—namely, inexplicable obsessions that lodge themselves deep in their brains. Drawing on David Lynch’s book Catching the Big Fish, Napolitano explored the idea of the “internal magnet,” which she defined as certain ideas “sticking” to one’s subconscious in the same way magnets stick to a refrigerator door. There is often no discernible rhyme or reason for a particular idea to stick around, she said; something inside you decides, and one’s job as a writer is to lean into the resulting obsession with intention. “Your calibrating magnet is the you of you,” Napolitano said, and listening to it can lead to your best work. In her second section, called “The Inside Job,” Napolitano emphasized the need for writers to turn away from their end goal(s), instead focusing only on the work at hand. Through writing for oneself (instead of for external validation) and, as Rakesh Satyal spoke about in his lecture, having self-compassion, writers will, hopefully, realize that they have agency in choosing where their thoughts go. In turn, this could help writers to experience more mental clarity when writing. For her final section, “The Practical Side,” Napolitano gave practical advice on how to develop one’s writing life with intention and mindfulness, including a list of different lifestyle choices one can use to aid in the development of a regular writing practice. Quoting Annie Dillard, Napolitano said that “How we spend our days is how we spend our lives.” One’s writing—as well as one’s quality of life—improves when treated seriously. —Carly
The One Storys Summer Writers Conference ended with memorable readings from all of our students and jokes from the One Story instructors and staff. Tears might have been shed. It has been a pleasure to talk with each and every writer who attended this week-long conference and helped create such a generative, supportive space. We hope your time with us was meaningful and that you created life-long literary friends.
As a parting gift for our fellow writers, some final words from Hannah Tinti: “Your writing is not you. It’s something you have done.”—Andrea