shunn | Entries tagged with workshop

I was going to catch up on more of the week at the workshop yesterday, but Michael Jackson died and took Farrah Fawcett and most of the internet with him. You live on earth. You know.

On Tuesday, Brad Beaulieu made us all eggs benedict with crabmeat for breakfast. This was somewhat suspicious, given that he was first on the critique schedule for the day, but I don't think any of us actually changed our comments because of the fantastic food. Most of us joked about it, though.

My first-fifty was the fourth and last to go under the scalpel that day. I got a ton of very helpful feedback. There were elements of the book that I was very happy to hear that people were responding to, I got confirmation that the bits I suspected were big problems really were big problems, and then I heard just oodles of impressions and misimpressions

that helped me see where I was setting the wrong expectations, where I was being unclear or vague, or where I was just being silly. Leaving the critique session, my mind was already whirring, working on how best to integrate the feedback I received into the next draft. I was very happy with the way it all went.

From this remove, some of the days begin to blur together, but I think I'm pretty safe in saying that we returned to the balcony at the Zane Grey Ballroom to enjoy beer in the open air at an even greater altitude than that of street-level Flagstaff. That happened almost every night.

On Wednesday, we began convening in smaller groups to do dissections of full novel manuscripts—or, at least, of whatever portion of those manuscripts does exist. That's been going on in groups of three or four ever since. Each of us was assigned two full manuscripts to read, and in turn had two participants read our

own full manuscript. My session took place this morning at Macy's Coffee. Eugene Myers and Rob Ziegler gave me an incredible thorough, helpful, and encouraging critique of my 70,000 words so far. When this book sells, I will owe them a huge debt of gratitude.

To hop back a couple of nights, now, on Wednesday evening we had a group viewing of Cloverfield. The movie was a lot more fun than I expected it to be. I found it well-made and effective for what it was, and of course it's always fun to see a city you know well get destroyed by a giant monster. It shared a lot of plot elements with one of my favorite little movies, the 1988 Anthony Edwards thriller Miracle Mile, but of course was a very different film. I jumped when the first explosion hit.

For Thursday evening, which would be last night, Sarah Kelly set up a Meet the Authors event at the Wine Loft in downtown Flagstaff.

gregvaneekhout was featured prominently in an Arizona Daily Sun article promoting the event, in fact. Six of us sat on a panel of sorts and answered questions about our writing that we had come up with ourselves and given to Sarah.

The audience actually outnumbered the panel, and they had good, solid questions for us when we had run out of our own questions. From there we shifted our base of operations to the Beaver Street Brewery.

This morning before my critique session, Greg and I rounded up what equipment and food supplies we had in our apartment and hosted a banana pancake breakfast for the women staying in this same building with us. (Most of the men are staying in another place across town.) This was greatly aided, and in fact suggested, by the two boxes of pancake mix we found in our cupboards, and by the bottle of imitation maple syrup in the fridge. I think the pancakes were a hit!

Around noon (actually a bit later because on my way back from my critique session at Macy's I realized I had left my leather coat on my chair and ran back only to find that the coat was gone and hadn't been turned in but thank goodness Rob Ziegler had grabbed it for me before he left), we convened as a group briefly so that Mike Kelly could photograph us for the obligatory Locus workshop pic. There is melancholy in the realization that things are winding down, but I'm starting to miss home a lot, and I can't wait to see my wife and dog tomorrow night. I'll be internalizing the stuff I learned this week for a while, and I'm really glad I was able to come.

P.S. Greg van Eekhout is best roommate! And his novel Norse Code rocks. Buy it.

Current Location: Flagstaff, AZ
Current Music: Rush, "Driven"

The process of critiquing partial novels this week and of having a partial novel critiqued this week has made me think a lot about what a workshop is and what it isn't. I've particularly wanted to share those thoughts with the writers who are attending a Blue Heaven–style workshop for the first time, because talking about novel fragments the way we do is a very different thing from what happens in workshops more oriented toward short stories. It's not my style to take anyone aside and put an avuncular arm around their shoulder, and I don't know that that's necessary anyway, but I do want to say my piece.

Your workshop (any workshop, really) is a tool. Your workshop is not a pronouncement from God. Especially when we're doing fragments, you're going to hear suggestions for improving your manuscript that sound absolutely plausible, that are uttered with complete conviction and even vehemence, and that would serve to make the first fifty pages of your novel more involving and exciting and enticing to an editor. But those comments may still be absolutely wrong for the novel you're trying to write.

Your job as a writer is to keep your vision for your novel first and foremost in your mind. Yes, your first fifty pages may not be as involving and exciting as they can be, and they may be setting the wrong expectations for the story that follows. Your job, though, is to measure all those comments against your vision for your novel, and to use them as a guide to telling your story in the best way you possibly can. What the comments tell you are where your novel is failing to create the sort of understanding and response in your readers that you are trying to achieve. They are a calibration tool for letting you know how far you've strayed from the mark you're trying to hit. They amount to a differential guide, not to a bible.

You very well may end up using some or even a lot of the suggestions you get in the workshop. That's okay. But use them only if they bring you closer to achieving your vision. Remember that only you know what that vision is. Use the workshop to help you craft an opening for your book that clearly and immediately sets the stage for the unfolding of that vision.

Remember also that it is a very rare book that appeals to every reader. When people that you respect and admire don't really get or respond to what you're trying to accomplish, it may be that it's because they simply aren't the right audience for your book. Some of their comments may still be useful, but you will probably want to give more weight to the critical comments from people who are the right audience.

And when someone doesn't get what you're doing, it may also be that it was just the wrong day for them to be reading your book. I don't know how many times I've picked up a book and utterly failed to connect with the material, but then picked it up a few weeks or months or even years later and found myself sucked right into the story. No reader is static. We all change, and we all have moods that affect the filters we bring to what we read. In many cases—and this is something

bobhowe and I used to talk about a lot—it may that a critique is simply an attempt by a reader to find an intellectual justification for something that is really more of an emotional response to the material.

This goes for all workshops, of course, but I think these things are even more important to keep in mind when the critiquers are reading only a partial manuscript. We as readers don't know the story's destination. All we can do is offer our impressions of how willing we would to keep walking with you based on what you've given us. You're the one with the map. We've handed you some measurements to help you assess how far astray you've led us.

It's your vision, not ours.

Current Location: Flagstaff, AZ
Current Music: Kinky, "Más"

Our second day of workshopping was much like the first. Four first-fifties were done over the course of the day, with a delicious catered lunch of quesadillas in between. Everyone seems to be settling in and getting more comfortable, though as a result the critiques went longer yesterday than they did on day one.

Afterward a handful of us went shopping for a few things that were lacking in the rooms here, including half-and-half, real coffee beans, toilet paper, and sufficient beer. Then most of us converged once more on the balcony at the Zane Grey Ballroom, where the beer, as I may have mentioned, is ridiculously cheap, at least by the standards I'm used to.

In the late evening, we convened back here for pizza (I'm not sure how, but I exercised unprecedented willpower in making a salad for myself instead), beer (did not abstain at all), and an informal discussion about certain aspects of the publishing industry. I would say more, but what happens at Starry Heaven stays at Starry Heaven. If we decide it should stay at Starry Heaven.

This morning we're all heading over to the house where most of the men are staying, where Brad Beaulieu is making us breakfast. Then we'll stay there for our critique sessions. Today will be the last day of first-fifties, and my book is last. I haven't been very nervous until now, but I'm started to feel it a bit. I probably won't be able to eat a lot of lunch.

Tomorrow we begin breaking up into various groups of three for in-depth critiques of full novel manuscripts. That's when things really start to get intense! Can't wait.

Current Location: Flagstaff, AZ

The first official day of Starry Heaven went very well, I thought. We critiqued the first four of our twelve first-fifties. (For those curious, we spend the first three days looking at the first fifty pages of everyone's novel, on the theory that those pages have to be strong when they go to an editor or agent as a proposal.) Many helpful comments were offered and received, and there was a satisfying and comfortable lack of drama. Everyone here knew at least one other person prior to the workshop convening, and some of us knew a lot of the other participants. It looks to me like everyone is managing to fit in, which is good. (And we were all glad that E.C. Myers, who had the worst travel luck of any of us, finally managed to make it here late Saturday night. It was too bad that he missed dinner, though.)

Lunch yesterday was catered. We had delicious little baked burritos, spicy tomato soup, and chips and salsa. After the afternoon session, a few of us hauled our stacks of stuff still to read down to Macy's and sat around chatting as much as reading for a couple of hours. Then the whole gang convened the Zane Grey Ballroom at the Hotel Weatherford and milled about on the balcony listening to reggae from the festival down the street, and later watching police, fire, and ambulance converge on the crowd. I hope whoever had the emergency down there was okay. Also, we saw a few trucks equipped with snorkels pass by in the street below. (I wish I had one of those for my car in Chicago on Friday. The water in the depression under the Metra tracks at Foster and Ravenswood was well over my axles.)

A highlight for me at the Zane Grey was getting to meet Mike Kelly, our organizer Sarah K. Castle's husband. Mike is James Patrick Kelly's brother, and since I also (entirely coincidentally and unconnected to the science fiction world) know Dan Kelly from Brooklyn, I have now met three of the Kelly brothers. My new goal in life is to collect all four! But quite apart from his Kelly family connections, Mike is a charming and fascinating fellow in his own right, a textbook-writing geologist who also designs interactive museum installations.

Oh, and the Zane Grey also had Lagunitas IPA on draft! $2.75 a pint!

After Zane Grey, we schooled over to the Black Bean Burrito Bar & Salsa Co. for a late dinner. Then it was home, where I crashed disappointingly early. Maybe they stay up later and drink more beer over in the other house. Going to have to find that out tonight.

Okay, now I'm going to put on the 2006 FourPlay String Quartet album Now to the Future (which

frogworth kindly sent me) and get another critique written.

Current Location: Flagstaff, AZ
Current Music: Joni Mitchell w/Wayne Shorter, "Lead Balloon"

In other news, I arrived today in Flagstaff, Arizona, to attend the Starry Heaven novel workshop! I'm here with my poor half-finished novel Technomancers, which I hope my fellow workshoppers give a swift kick in the ass. I was hoping that at 70,000 words I'd be close to finished, but as it turns out I'm only about halfway through the first draft.

But anyway, Brad Beaulieu and I ended up on the same flight from Chicago and rode together in the 90 mph shuttle van from Phoenix. Sarah Kelly picked us up with Gary Shockley and whisked us off to lunch at the Beaver Street Brewpub where we met up with Sarah Prineas, Sandra McDonald, and Greg van Eekhout and Lisa Will. A pitcher of Lumberjack Lager couldn't get to our table soon enough!

Then we checked in at our B&B, where the room Greg and I are sharing pretty much boggled our minds with its palatial dimensions. Blue Heaven will henceforth have a lot to live up to! A trip to the supermarket and our fridge is stocked, although it was pre-stocked with bagels and cream cheese and milk and OJ and coffee and syrup and the cupboard with cereal and pancake mix and stuff when we arrived.

Okay, I'm starting to gush. We hear via Twitter that Eugene Myers is having extreme travel complications, but with luck he'll be with us late this evening. I'm now drinking a Four Peaks 8th Street Ale and signing off. The week begins!

Current Location: Flagstaff, AZ

At Fantasy Book Spot, you can find an interview with "writer's writer" Richard Bowes, a friend and workshop comrade. The occasion is the release of his new "mosaic novel" From the Files of the Time Rangers, which I've read in a couple of different drafts, and which I urge you to seek out and pick up. Beautiful, beautiful work.

(Also, don't miss his short story "There's a Hole in the City." There is indeed.)

Current Mood: excited
Current Music: The Horace Silver Quintet, "Song for My Father"