Conference with Andy Duncan

June 29, 2004

I still felt pretty lousy after having an equally lousy story critiqued, so I was initially a little apprehensive about my conference with Andy. He started out by telling me that he liked my stories, especially "Uncle Snuffy on Doomsday." He said they were for the most part clear, clean stories about people we care about. "You clearly have the ability," he said. I think I exhaled right then and there for the first time all day. He also said that today's story was my most ambitious one.

One thing he liked about "Uncle Snuffy" was the Southern humor, citing the works of Manly Wade Wellman, Howard Waldrop and Christopher Rowe. (Wellman's works cite actual arcane Southern books, while most other writers just make them up.) "Southern stuff is not so common, but write it. Most editiors will happily look at it."

Even "flat" characters are important. You need a well-populated neighborhood. He gave me some other things to consider in making "Uncle Snuffy" and a couple of other stories stronger.

Again, I felt more encouraged after this conference. Sitting down with Andy was sort of like sitting on the back porch in some small Southern town, sipping lemonade and watching an occasional passing car stir up dust on a dirt road. Very relaxing and very encouraging. I feel better now.

Turn It In/Action/Random Quotes/My Story Critiqued

Tuesday, June 29, 2004

Apparently, we've reached the point in Clarion that people are either reluctant to turn in stories or they have no stories to turn in. We only had three stories today. Andy says to turn them in, even if they're half-assed.

Andy talked about action in stories. Don't make action irrelevant. Are story conflicts resolved through violence? Ass-whippings conclude nothing. Two people going at it solves nothing. Andy's not opposed to violent stories, but you have to deal with the social issues of the people involved. Violence has to serve some purpose other than head-busting.

Also look at how much exposition is going on. Is there a lot of dense text? There shouldn't be. Read James Ellroy. He writes brutal novels, but you see very few blocks of exposition. Most of the story is told in action and dialogue.

Experiment with forms. Tackle things you may not be able to handle. Try things a little beyond you.

Random Quotes:

Beautiful prose can convey muddy information.

Don't conceal or delay something from the reader that the POV character obviously knows.

Dashes are distracting. Use them sparringly.

***********************************************

My story "Community Service" was critiqued. I think I can safely say this was my weakest offering of the workshop. And while several people thought the writing was good, several pointed out (and rightfully so) that the story is heavy-handed, preachy, cliched, and avoids the hard questions. Andy cautioned that afterlife stories invaribly invite harsh comments. "Use the theology you want and disregard the rest." He recommended stories by James Van Pelt to see this done well.

I didn't really have much to say at the end of the critiques, other than "I take fully responsibility for subjecting you to such a lousy story." When I think about it now, I realize that the critiques could have been much more harsh. It really is a lousy story. Okay, so I've given myself permission to write crap, and there it is. I can either dwell on the fact that I've written a crappy story, or I can get to work on another one. That's one of the great things about Clarion - If you write a real turd, you don't really have time to dwell on it for very long. Right now I have to dwell on the fact that I have my conference with Andy this afternoon.

Various Pieces of Advice from Andy Duncan

June 28, 2004

First day of critiques with Andy Duncan. A few bits and pieces:

Sensory detail! Don't forget it. It's easy to get involved in plot and character, but think about sensory detail through your characters.

Read more poetry. It can help your fiction.

(Several people were mentioning movies in their critiques, trying to make various points.) Cite fiction! Read stories and read them closely. There's something wrong about citing movies and TV in a fiction writing workshop.

Week Four - Andy Duncan

Monday, June 28, 2004

Our assignment for Friday: Go to a public place and eavesdrop on one or more conversations that strangers are having. One-sided cell phone conversations are okay. Make notes - make a transcript as best you can. Use a minimum of stage directions. You may use a one-sentence introduction/description/setting. Get maybe three pages typed. On Friday we will perform our eavesdropping conversations. You can cast them among your classmates. "The seething raw facts of life in East Lansing, Michigan!"

Nancy Kress - Saturday Discussions Continued

This & That

If you're stuck in a story, try going back to the last scene you're comfortable with. Try to determine exactly where it went wrong.

Keep a "Bible" for characters. You'll save yourself a lot of grief.

Print out your first draft and edit scene by scene. Make your changes on the hardcopy and type them in again.

Look at stories closely. How much dialogue is used? How much description? How many scenes? What does each scene do? Analyze stories, tear them apart. This is how you learn. Do it with stories you really like. Don't be afraid to imitate other writers to see how their stories are structured.

In the long run, what counts is what you learn from your failed stories. The ones you publish early don't matter. It's the progress you make. It's what you learn from your stories, even your failures. You're in it for the long haul.

Stories should make you think and feel. A really successful story does both.

Stories have to have a different worldview that broadens the reader's view. That's a successful story. You don't have to like the characters, but you do have to care about them.

Nancy Kress - Saturday Discussions

Saturday, June 26, 2004

Process

This morning Nancy spent time talking about the process of writing. Here's some of what she said:

The bottom line for each writer is this: Do what works for you.

Michael Swanwick starts the beginnings of his stories about 20 times, revising for words and new ideas. He carefully revises two pages, then adds a new paragraph.

Toni Morrison writes without knowing how the story/novel is going to end.

Nancy herself writes a fast first draft without doing any editing, basically a 500-page outline. (She researches during the second draft.) About two-thirds of the way through that first draft, she knows the ending and the meaning. The last third doesn't need much revision because she knows where she's going.

Connie Willis outlines like a demon and can identify the main event in each chapter. She can't move forward until she knows all the details.

Some work fast, some work slow. Again, everyone's different. Find what works for you and stick to it.

Turning Ideas Into Stories

Let's say you've got an idea for a story. You want to write something about a brain transplant.

1. Who's Point of View? Who will this transplant hurt the most? The doctor? Patient? Parents of the child? That's your POV character, the person with the most to lose.

2. What can go wrong? The operation gets screwed up. This will generate ideas. Think of Frodo and the ring - what can go wrong?

2.5. With what result? Somebody else wants the ring, Gollum, etc. The ring starts to take over the wearer. The events of the plot make the characters change.

3. What's at stake? STUFF COSTS! The thing at stake doesn't necessarily have to be big. It could be a relationship, peace of mind, etc. It doesn't have to be the ruling of the world.

4. What do these people want? Everybody wants something. List your characters. What do they want at the beginning of the story? Sparks you to generate more plot ideas. What about the middle? Does it change? If you keep motivation under control, you'll have a lot of your story under control.

Early Decisions in Your Story

Plot and character can and often do change in your stories. These things shouldn't change:

POV - The fewer POV characters, the better. We see reality from one head. Stick to one in a short story. Let the reader know early if you're doing a multiple, then limit it to one POV per section. It shouldn't look like a mistake or lack of control.

TONE - You should know the tone of the piece by the end of the first section. Heroic fantasy? Romp? Hard-boiled? Pick one and stick with it. Everything must make logical sense in its own terms.

Oops....

Sorry about the, uh, somewhat lengthy delay, leaving you hanging at the end of Week Three. I just realized that maybe someone's at Clarion now (or thinking about going to Clarion in the future) reading Clarion journals in preparation/anticipation/pure boredom. In all likelihood, however, absolutely no one is reading or has ever read my Clarion journal, yet, for the sake of completion, I promise to post the rest of my Clarion experience very soon.

Signed,

Clod of the Year

Business

Friday, June 25, 2004

We only had a couple of stories to crit this morning, so afterwards Nancy spent some valuable time on the business side of writing.

The good news is that talent will find a place. Editors and agents are looking for good, new writers. The problem for new writers is that your name has no drawing power. You have to be better at the beginning of your career than at the middle or end of it, PLUS you have to be better than people already published. If you and Harry Turtledove both send an editor an alternate history novel about WWII (even if yours is very good), guess who'll get published? True, you're not always in competition with established writers, but sometimes you are. But once you're established, it's easier to sell your stuff.

Hand-written notes from editors constitute a huge step up from the form letter rejections. If they take the time to write you, you're close. If they write "We'd like to see more," DROP EVERYTHING and send them another story!

You don't need an agent for short fiction, only when you've FINISHED a novel.

If you send it to an editor, it may take a looooooong time before you hear back from them. They're looking for a reason to send it back. They aren't being intentionally cruel, they've just got too much to go through.

If you send to an agent, it's easier if you've sold some short fiction first. Tell the agent your publications. Find out who represents the writers who you think you're close to in your writing style. Send cover letter with credits, the first three chapters and a synopsis.

Postscript: There's much more, far too much to list here, but you get the idea. One day I'll type up all my notes.

Period Pieces/Exposition/Power Position

Thursday, June 24, 2004

We had a couple of period pieces critiqued today. Nancy pointed out that period pieces and alternate history can really be tricky. You've got to provide enough details to let us know where and when we are without it becoming a textbook. If you're writing an alternate history, the original "something" has to be there so that you can depart from it.

No matter when or where your story takes place, NEVER start with long clumps of exposition. It's like trying to play Beethoven when you haven't even learned scales yet. Plus it takes the reader out of the story, possibly never to return.

The last sentences of paragraphs, scenes and the stories themselves are all "power position" sentences. They have to have impact, punch, kick. Don't just slap anything down to end your scene.

Stuff Costs

Wednesday, June 23, 2004

There's some tension in the air. It’s taking us longer and longer to get started in the critique circle. Plus I think Nancy’s getting a bit frustrated with people who aren’t turning anything in this week. I don’t blame her. Maybe some have hit a wall (figuratively or literally). Or maybe we're hitting the Week Four slump one week early.

The words for today were two: Stuff costs. Your protagonist must tread a tough path and might just suffer – a little or a lot. Something has to be at stake. Somebody has to pay.

I got “Uncle Snuffy on Doomsday” critiqued today. Nancy said that the rules are different for a comedy, which this is. The critiques were generally good. Most people wanted the dog to play a bigger part in the end, and I think I’ll do that with the re-write.

In our conference, Nancy and I talked about character arc quite a bit. I think I have a better idea of what to do with my characters now, also incorporating “stuff costs” in my stories more. She asked me where I want to go in my writing and I told her that I really want to read and learn more, that I feel really behind. Asked her about taking courses or going back to school. She said forget it, you can learn just as much (if not more) by reading and self-study. Sounds good to me.

Tuesday Night Drinking Club

Nancy joined us tonight for Tuesday Night Drinking Club. A much bigger turnout than last week – about 12 of us. Of course three members are under 21, so 15 is the most we could ever have. We've been holding the Drinking Club at a downtown bar called Beggars Banquet - a pretty cool spot if you're ever in the area. We tried our hardest to convince Nancy that she needed to get a tattoo, but it was a no-go.

Week Three - Nancy Kress

Monday, June 21, 2004

We did a couple of critiques today, then Nancy went over some basic fundamentals with us:

Story Openings:

Orient the reader - Where are we? When are we? These things must be vivid and continuous. If not, the reader is jolted out of the story.

No expository information at the beginning. Be interesting first, then clear.

Hint of conflict – You have to grab the reader with conflict and earn the right to go into flashbacks/backstory later, not at the beginning.

Set the tone – Will this be a quiet story? High voltage? Comedy? Myth? You're trying to clue the reader in; be consistent. You're making a promise to the reader as to what type of story you're telling them. You must fulfill that promise.

That just scratches the surface; there was much more and it was VERY helpful. But some people complained afterwards (but not to her). I think they felt like she was talking down to them, but she said, “Several of you are having fundamental problems. Let’s talk about them and work to correct them.” I’m all for that.

Nancy is very to-the-point. She’s really no-nonsense in critiques, but in no way harsh or cruel. She starts out by saying “Here’s what works…” and tells you. Then it’s “Here’s what’s not working,” and she tells you how to fix it. And then to the author, “What would you like to say about your story?” I think she’s a fantastic teacher. She’s really the first instructor to actually “lecture,” which may have turned off some, but I found enormously helpful.

Suzy's Last Session/Nancy Kress Arrives

Saturday, June 19, 2004

Suzy did a session this morning about several topics: writer's block, character generation, editors & agents.

Most of the writer's block info dealt with process and how to set yourself up for success – having a regular time/place to write, freewriting to get unstuck. Stop writing just before you finish a scene; make notes on what happens next. The next day you can review what you've done and you'll have a better idea of where to take the story next. Reward yourself when you complete a scene. (What's not to like about that?)

Observing people is a must for character generation. Get on a bus and watch people. Pick a person who looks interesting and write a set of descriptions. What assumptions am I making about the person I'm looking at? Every head is a world.

Some really valuable information on what to look for (and look out for) when trying to work with editors and agents. (Much too much information to include here, but it's all in my notes if anyone's interested.)

Nancy Kress arrived today while I was throwing the Frisbee with Tenea, Marjorie, Eric, Arnn and Peter. She was a little overwhelmed by all the names, but she did pretty well learning them so quickly. I am really excited; Nancy is one of the main reasons I applied to Clarion. I've respected her work for a long time. I knew after just one meeting she had with P.O.E. that she was an incredible teacher. Can't wait to hear what she’s got to say.

Jubilation

Thursday, June 17, 2004

Wow, what a high! We critiqued my story “Where the Vultures Feed” today. Many people liked it, some were confused by the title and had some questions, but they were good questions. Suzy really liked it and said that it’s publishable! Man, I was riding so high I was silly! It feels so good to know that you can do it and that a professional writer has given you the recognition that yes, this is a good story! Yes, I’ve written one! I feel like a real writer, even though I haven’t sold anything yet. Suzy warned me that I have to be careful; the next story may stink! But if I’ve finally written a good story once, I can do it again. She suggested that I try to write a completely different story, which I am going to do. I just kind of walked in a glow all day long. And it felt great!

Tonight we went to Suzy’s reading at Archive Books. She read several very touching selections from her non-fiction book about her dad. It’s all about dealing with aging parents. Her father was a frustrated artist (painter) who spent his whole life painting “derivative” paintings, imitating others. She said he finally did paint something original, but it was a 6’x 10’ canvas. When he moved to live with them, rather than move the painting, he cut it up and threw it away. Such a tragic story, but beautifully told.

Suzy has been incredible. I have such a tremendous respect for her and her work. Her comments this week have been invaluable. I didn’t think Nina could be topped. I don’t think that you should really compare the instructors; each one brings something different to the table, but I have really been blown away by her knowledge and way with people.

A First Sale/Conference w/Suzy McKee Charnas

Wednesday, June 16, 2004

The big news is that Marjorie sold a novel yesterday! It’s a paranormal romance novel that she sent out in December. We are all very happy for her and proud of her. I think she was a little overwhelmed, first at her success itself and second at our joy of her success. It could not have happened to a nicer person. She is a wonderful person and an outstanding writer.

I turned in “Where the Vultures Feed” last night. It will probably be critiqued tomorrow. I feel good about the story, which bothers me; I’m thinking that if I feel that good about it, I may not be very objective. It is a deeply personal story, maybe too much so. But I think you have to put those things on paper, partly as therapy.

We’ve been getting some very good stories, especially the one today from Charles about Donizetti’s ghost.

I have my conference with Suzy in about 15 minutes. I think most of the conference will be about “Train to God,” which Nina had a hard time with because it is so emotionally painful to read.

I feel I’m growing as a writer, maybe not by leaps and bounds, but by inches. But I am learning. We’re all at different places in our writing. I think I'm somewhere in the middle of this group, but that’s okay. My motivational quotes on the door/wall are helping me and I hope they are helping others too. You’ve got to try.

Had a great conference with Suzy. She said that while “You Can Say” and “Who’s Your Mama” are basically beginner stories, “Train to God” is probably salable. Plus I’ve got “Where the Vultures Feed” to be critiqued tomorrow. A few people have already read it and told me they like the story and that several lines and details are good. That tells me that the story is probably not a complete whole yet. But I can’t allow myself to get down if the critiques are rough. I’m here to learn. And I refuse to doubt myself, my abilities, or my desire.

Week Two - Rough Spots

Monday, June 14, 2004

Today marked the first really nasty incident. A story was being critiqued and one person was pretty harsh with words. This person kept the harshness going until Suzy put her foot down and stopped it cold. She said that critiquing is fine and honesty is fine, but we're not here to be harsh and enough is enough. The person apologized, the author of the story accepted the apology and eventually everything was okay. It was a little uncomfortable for a few minutes, but I think we all know where the line is now. I seriously doubt anything like that will happen again.

My story “His Greatest Performance” was critiqued next. Some good, some bad. I got some good ideas, but I really beat myself up over parts of it. There were too many problems in the story that I should have caught. I really felt depressed about it for awhile, but I realize that I had an inflated opinion of the story to begin with.

I got to my room and focused on the positives, thinking about all the progress I made to get here. There's just no room for getting down on yourself and thinking negatively. I am still learning and I have to keep reminding myself of that. Everyone is at a different level and if my stuff was ready to be published right now, I’d be published right now. This is a learning experience and I’m a growing writer. I’m a good writer, but I still have so much more to learn. There’s no disgrace in that and I shouldn’t make myself feel bad about it. I should be thankful that we all have great professional instructors and great people who are reading with a critical, yet helpful eye. The best cure is to get busy writing, which I’m about to do right now.

The End of Week One

Sunday, June 13, 2004

Yesterday was Nina’s last day with us. It was very tough to see her go. We all contributed and made her a scrapbook with pictures of all of us in it. Sort of a Kappa Kappa Gamma “Stepford Wives” story. A few people brought DVDs. A few of us started watching PITCH BLACK, but it was terrible. Played guitar and sang with Nina, Eric, Peter, Amelia, Grace and a few others here and there. Kept at it (mostly Beatles tunes) until about 2:00AM. Suzy McKee Charnas arrived last night. A few of us talked with her at lunch today and helped her move her stuff.

The greatest thing about Clarion is that everyone here understands. We understand each other’s love of sf/f and writing and we’re willing to accept each other as we are. I don’t know when I’ve ever felt this close to a group of people.

Sushi and Conference Time

Wednesday, June 09, 2004

Good run this morning. Good critiques too. Was hot as blazes last night and today, but at least it rained during part of the day. If they use this house again, anybody on the third floor should run his/her ceiling fan and put a fan in the window 24/7. Man, what an oven.

Ate lunch with Nina, Marjorie, Tenea, and Peter. Cindy will love the fact that I ate at a sushi place. (I won’t tell her, but it wasn’t bad at all.) All of these people are so interesting.

Had my conference with Nina. I didn’t really know what to expect, but we talked first about the stories that we submitted to get into Clarion. She had some great ideas about “Who’s Your Mama” and pointed out several problems that I had never considered. This is exactly what I’ve been looking for – a professional who can tell me specifically what needs to be fixed and how to fix it. She said “Train to God” was a painful story for her to read; not because it was bad, but because it's somewhat bleak. I told her that it was painful to write as well. She didn’t have much else to say about it. We did talk about “You Can Say” a good bit. Nina said that if you have something, some issue burning inside you, you have to write it until you feel like you’ve said what you need to say. She recommended that I keep doing what I’m doing – reading, writing, studying stories from other writers I admire. Hooking up with other Clarion members after Clarion is a good way to have another first reader. She told me to give myself time, there’s no hurry. Then we walked for a block or two. This was great. I told her that if Clarion ended today, it would be worth it. She smiled and said, “But it doesn’t end. Not yet!”

And Here's What We Think of Your Story...

Tuesday, June 08, 2004

Got “You Can Say Anything You Want” critiqued. Basically I was pleased. Everyone commented that the voice was good and the main character was well-developed. I anticipated several of the problems they found, but others were a real eye opener to me. I did realize that the ending was heavy-handed, but it worked for several people, predictable as it was. Overall I was very satisfied. I felt like everyone was honest but not brutal. These guys are sharp; they're well read and don't miss much.

Apparently we had a big incident today that most of us missed. Some of the sorority girls' moms stormed into the house, red-faced, indignant and horrified that MEN were staying in the house! Sorry I missed that.

First Day of Critiques

Monday, June 7, 2004

Went for a great run this morning. Really helped to prepare me for the rest of the day.*

First day of critiquing. We only had two stories to critique (submission stories), so it went pretty quickly. I think everyone did a pretty good job, but two minutes sure go by fast. You really have to gauge what you think is most important for the writer to hear and go with it quickly. And try not to repeat what somebody else just said.

Nina is very good about giving useful information in an encouraging way. With just two stories this morning, we had a little time left, so she talked about first lines. She read several first lines from anthologies by Clarion instructors, then we each wrote ten first lines as an exercise. She told us to use any of them that appealed to us.

Went to Curious Books, a used bookstore in walking distance. Bought way too many books – four or five – but was delighted to find The Portable Faulkner. Three stories to critique for tomorrow (would have been four, but one of them was mine), one of them 13,000+ words.

I’m excited and a little nervous about having my story critiqued tomorrow. But I know that whatever happens I’ll grow as a writer and that’s what it’s all about.

* Postscript 8/18/05 – I strongly recommend some type of exercise before and during Clarion. I ran three times a week during the first three weeks, two times during week four, but none during the last two weeks. I wish I could've kept it going; the exercise really clears your mind of clutter and often helps blocked ideas/stories to spring loose. Plus you just feel better. But I didn't budget my time well during the last two weeks. I began to see that I wanted to spend as much time with these people as possible, even if that meant losing a few steps (or more) in exercise.

The Lowdown

Sunday, June 06, 2004

Went for a run this morning at about 8:30. I was still probably a little too tired from the drive, but I wanted to get into some type of exercise rhythm. Arnn and Rebecca also run – maybe some others do too. Had a quick breakfast downstairs with some of the guys and started reading/critiquing some of the stories. Our first meeting is tonight at 6:00. We're going to go over procedures, etc.

The meeting went well. Lister explained a little about the unexpected challenges that have put Clarion in a sorority house this year and some of the other things going on behind the scenes. Then he told us what’s close by and things we can take advantage of on campus – getting an I.D. that will give us access to the library including the Clarion archive.

Then Nina gave a wonderful talk about what to expect in critique sessions: two minute critiques (with no interruptions) and the last word from the author. She respects everyone and wants no one to get hurt during the critiquing process. I was very impressed and encouraged. All the time she was talking I kept thinking how great this experience is. I still can’t get over being here.

After finishing my critiques, I worked on “You Can Say Anything You Want.” I paced around the room for several minutes thinking, “Do I want to turn it in yet? Yes…no…yes…” I finally went downstairs and put it in the manuscript box. When I came back up, Tenea gave me a star for being the first to turn in a story! Cool.

Arrival

Saturday, June 5, 2004

Arrived at Clarion today about 5:30 PM, a pretty long ride from Maryland. The people who were already here immediately started helping me unload my car (and I brought a lot of stuff). Everyone was super nice. I guess about ten or eleven of us had arrived by the end of the day. Once everything was unloaded, I took a few people on a trip to Meijer’s, which is sort of like a converted Wal-Mart, but much nicer.

Later Njihia and Rebecca and I ventured out and ate at a place near campus called The Post, which was surprisingly good. The three of us hit it off really well, sharing several common interests. I think that being with these people at Clarion will be a lot like writing – I can get wrapped up in it and lose all track of time. That’s exactly what happened – I talked with some of the guys on my hall until about 12:15 PM, just about all kinds of stuff – not all of it sf. Trent is really into Dylan, so I know we’re likely to have several conversations about Bob. I’d say Clarion is off to a good start.

Recommendations: I’m glad that I drove up on Saturday instead of Friday or Sunday. I think Friday is too early and Sunday is probably too late. I also recommend bringing the computer system that you have been working with all along. I brought my desktop and am glad I did. Even though it took up a lot of space in the car, I’m glad I’ve got instant access to everything that I need.

Anticipation & Anxiety

Wednesday, May 26, 2004

I’m really enjoying the Clarion newsgroup. Several of the participants have posted messages. I think it’s going to be a fun group.

I’ve been reading as many stories as I can get my hands on by the Clarion instructors. I’ve always been a big Nancy Kress fan, but I am really enjoying all of the other writers’ work as well, especially Andy Duncan’s. Maybe it’s because we’re both from the South, maybe it’s because he’s just a great storyteller.

The more I read, the more unprepared I feel. Some of the stories I’ve read several times, analyzing what the author is doing and how the stories are structured. But I feel like I’m trying to cram for a test. I can honestly say, though, that small beams of understanding are coming through with each story. I’ll just keep at it.

Tell Your Boss...

Sunday, May 16, 2004

I’m giving my boss my two-week notice today. Not looking forward to that.

Celebrate! Tell Your Friends!

Saturday, May 15, 2004

Celebrated my acceptance to Clarion yesterday by purchasing the Jonny Quest DVD boxed set. (Probably no one else celebrated with Jonny, Hadji, Race, Dr. Quest and Bandit, but hey, it’s my call to celebrate any way I want.)

P.O.E. met this morning. Everyone was very excited about Clarion. They asked a million questions and I answered the ones I could. It’s great to be around people who understand and support a writer’s passion for writing, or for the arts in general. No one in P.O.E. questioned my decision to leave my job and wife for six weeks and drive up to Michigan to learn how to become a better writer. My family and friends who are not writers but are musicians understand. They have the same passion, just channeled in a different direction. I have their blessing.

It’s my non-writer/non-musician family and friends who don’t understand. “What about your job?” “What are you going to do for a paycheck when you get back?” “You’re going to leave Cindy for six weeks?” (They seem to forget that when Cindy goes on tour with the Navy Band every year that she’s gone for nearly the same amount of time as I’ll spend at Clarion.) For anyone reading this who may be in a similar situation, you have to surround yourself with people who understand and believe in you. Stay away from negative people. If you don’t, you’ll doubt yourself and your decision. If I didn’t think this was the right move for me at the right time, I wouldn’t have done it. But I know that it is. Everything happens for a reason.

Acceptance

Friday, May 14, 2004

I didn’t really have anything to add to my journal except more writing, more studying, more critiquing of P.O.E. work...until yesterday.

I got an email saying that I’ve been accepted to Clarion 2004. I kept staring at the computer screen thinking, “They must have sent this to the wrong person.” But I changed my way of thinking. I knew that I had written two pretty good stories and that my writing had improved miles since I applied to Clarion West last year. And I believe I’ve gotten better since I wrote those two entry pieces.

But Clarion…wow.

For the past twelve hours I’ve experienced a mixture of elation and nerves. I’m delighted to be a part of this company of writers and can’t wait for it to begin. I’m still a little nervous, but I won’t let anxiety set foot in the room. After all the time I’ve spent with P.O.E. (Publish or Else, a local writers’ group I’m in), I think I’m somewhat prepared for the criticism of my writing. And I also keep thinking of something I heard Orson Scott Card say, that he never for a minute doubted his ability and determination to become a successful writer. Pretty good advice.

So much to do…Get my old lap-top fixed, make travel plans…maybe even write a story.

Submission

Tuesday, March 09, 2004

I just finished my third draft of “Train to God,” one of the stories I plan to submit to Clarion. I don’t know if the story will interest anyone at Clarion enough to extend me an invitation to the workshop, but I know that my writing has improved by leaps and bounds over the last year. I have a schedule that I’ve been pretty faithful in following for the last several weeks. I’ll continue working on the other story and take one last look at “Train to God” in about a week. Then I’ll send the two stories off to Clarion and see what happens.

I’ve read a few of the Clarion journals during the past several days. It seems that Clarion worked for some, but not for everybody. One woman got very little out of it, learning the hard way that she can’t thrive in an environment of group critiques. Another said that he definitely grew as a writer, but not by leaps and bounds. Someone said that he learned more from critiquing than from writing.

I’ve been reading a lot of short stories, trying to figure out how authors construct their work. The more I read, the more I see weaknesses in my own work, but I also am beginning to see how good stories are crafted. Two stories that have recently blown me away are Terry Bisson’s “Bears Discover Fire” and Karen Joy Fowler’s “Face Value.”

Tonight I’ll work on the second draft of my second story, “Who’s Your Mama?”