Have you heard of the New York #Writers #Workshop ?


Here at Daily (w)rite, I run a series of interviews of publishing industry experts: I’ve had poets, authors, and creative writing professors. Today, I’m chatting with Tim Tomlinson, who teaches at the New York University’s Global Liberal Studies program, and is an author and poet in his own right.

My first encounter with him was through his book, The Portable MFA in Creative Writing, one of the first books that gave me the confidence to go on writing without an MFA, and not lose heart. I took a writing workshop with him some time back, and speaking from experience, if you have the opportunity to go for one of those, do not hesitate.

1. You’re one of the founders of the New York Writing Workshop. What was the impetus behind it?

Solidarity and frustration. The founders were all teaching for another organization whose demands began to clash with our values. We met, somewhat conspiratorially, and we decided that we could do it better on our own. The rest is a combination of history and farce.

2. What do you enjoy most about teaching creative writing?

Meeting new writers, hearing their material, and giving them ideas for presenting the material most effectively. I recently finished two long sessions in Baguio, Philippines. Lots of talent, many wonderful people, but with a need for craft, useful practice, and self-belief. In two days, we made great progress in all those areas, and that’s gratifying.

Portable MFA in Creative Writing

Portable MFA in Creative Writing

3. Tell us about your book, The Portable MFA in Creative Writing. How would you like a reader to approach it?

The Portable MFA in Creative Writing was meant as something of a substitute to MFA programs, or more accurately, a substitute for the expense of MFA programs.

At New York Writers Workshop we encountered hordes of recovering MFAs—aspiring writers damaged to varying degrees by destructive MFA programs. Writers who’d become convinced their work was garbage unless it matched whatever criteria were being pushed in whatever program (if, indeed, any criteria were being pushed). The Gordon Lish survivors were the most crippled: they couldn’t get beyond sentence one (which, according to Captain Fiction, must be perfect before one can proceed to sentence two). So we wanted to offer an alternative to spending $50,000 on nothing, or worse than nothing. For $16.95, the conceit had it, one could avail oneself of some, many, or close to all of the lessons of the MFA program.

But, and this is a big but, the book can’t provide community, or readers, or encouragement. MFA programs can (although none of these is guaranteed). The book also encompasses a range of disciplines: fiction, non-fiction, playwriting, poetry. Some programs prohibit movement between disciplines; our book encourages movement.

4. Can creative writing be taught? Why/ why not?

It most certainly can, and as we say in the book, one should run away from any program or instructor who says that it can’t. Talent can’t be taught, luck can’t be taught, discipline can’t be taught. But talent can be recognized and nurtured. And when it is, discipline follows – it’s more fun to sit down to the grind and discover that good work, or better work, is forthcoming. And when disciplined practice becomes part of the routine, luck often follows—one creates one’s luck. You teach the craft, you suggest the discipline, good things follow.

5. What advice would you give someone who is applying for MFA Writing programs?

Ask tough questions, of the program, and of yourself. Who will be teaching? What is her approach? (Does she believe creative writing can be taught?) What’s the rate of acceptance? How many nonsense requirements will intrude upon my writing time? Can I afford this? How deep will I fall into a financial hole? Can I achieve the same goals through less costly means?

6. If you had three pointers to give an aspiring writer, what would they be?

Read a lot, write more, and spend time far away from books (or universities). The work of too many young writers is informed by university experience solely, or predominantly. That creates the kind of provincialism you see in American fiction and poetry today.

7. You have taught creative writing in the West, as well as in Asia. What would you say are the key similarities and differences in the two experiences?

Very broadly speaking, Asian writers have more humility, which is a good thing for the development of craft, but maybe not the best thing for career advancement. Aspiring writers in Asia, too (again, broadly speaking) have far greater awareness of global realities than most aspiring writers in the U.S. American writers are freer in their diction, less formal.

8. Which is the last novel you read that you would recommend and why? Which authors would you name as influences on your own writing?

I liked Xiaolu Guo’s Twenty Fragments of a Ravenous Youth: A Novel. Her fragments are fairly large (in comparison to the fragmented fictions of Maggie Nelson, for instance, or Evan Lavender-Smith), but they’re still discrete units of narrative that enable Guo to focus on smaller moments, which build like blocks to a full coming-of-age story.

As for influences, in fiction no one has been more important than Henry Miller, particularly his Tropic of Cancer, for language and spirit. John Cheever for structure, Denis Johnson for lyricism, Robert Stone for rhythm, James Salter for vision, Lydia Davis for options, Junot Diaz for freedom, Mary Gaitskill for awareness, Edmund White for honesty, Chekhov for neutrality. The diction of cowboy movies. Sam Shepard. And the diction of gangster movies. Martin Scorsese, and David Mamet. So many. In poetry, I don’t know if I’ve been influenced. Rather, there are sounds and visions to which I aspire. Charles Wright, Li Po, Merlie Alunan, Mary Oliver. And subject matters that enable my own. Kim Addonizio, Jason Shinder, Philip Levine.

9. You help run a literary journal Ducts.org. Tell us more about it.

I’ve edited the fiction section for the past six or seven years (we also run essay, memoir, poetry, art, and humor). I’ve tried to make the representation global, and non-New-York-centric. I’ve run stories from Vietnam, the Philippines, Australia, England, India, as well as from many places in the U.S. Our readership has grown, the quality of submissions has elevated, and publication has become more and more competitive. We have two best-of anthologies: How Not to Greet Famous People, and The Man Who Ate His Book.

Tim Tomlinson New York Writers Workshop

Tim Tomlinson

Tim Tomlinson is co-founder of New York Writers Workshop, and co-author of its popular text, The Portable MFA in Creative Writing. Stories and poems appear or are forthcoming in The Blue Lyra Review, Caribbean Vistas, Coachella Review, Writing Tomorrow, and the anthologies Long Island Noir (Akashic Books), and Fast Food Fiction (Anvil Publishing). He is the fiction editor for Ducts. He teaches at New York University’s Global Liberal Studies program.

Do you have questions for Tim Tomlinson? Have you taken an MFA or considering applying for one? Would you like to talk about your experience?

 

What’s Your Story? #socialmedia


Fishy thoughts

My thoughts on Social Media

Today, I had a minor setback. My first instinct– to go and share it on Facebook.

I don’t share much of my private life on my blog, nor on my Facebook or Twitter. But recently, I’ve noticed a tendency– or maybe a temptation– because I don’t give in to it, of sharing about my life on social media.

I recently read this article in the New Yorker by author Dani Shapiro, about exactly how damaging giving in to this temptation can be for writers:

I worry that we’re confusing the small, sorry details—the ones that we post and read every day—for the work of memoir itself. I can’t tell you how many times people have thanked me for “sharing my story,” as if the books I’ve written are not chiseled and honed out of the hard and unforgiving material of a life but, rather, have been dashed off, as if a status update, a response to the question at the top of every Facebook feed: “What’s on your mind?” I haven’t shared my story, I want to tell them. I haven’t unburdened myself, or softly and earnestly confessed. Quite the opposite.

In order to write a memoir, I’ve sat still inside the swirling vortex of my own complicated history like a piece of old driftwood, battered by the sea. I’ve waited—sometimes patiently, sometimes in despair—for the story under pressure of concealment to reveal itself to me. I’ve been doing this work long enough to know that our feelings—that vast range of fear, joy, grief, sorrow, rage, you name it—are incoherent in the immediacy of the moment. It is only with distance that we are able to turn our powers of observation on ourselves, thus fashioning stories in which we are characters.

There is no immediate gratification in this. No great digital crowd is “liking” what we do. We don’t experience the Pavlovian, addictive click and response of posting something that momentarily relieves the pressure inside of us, then being showered with emoticons. The gratification we memoirists do experience is infinitely deeper and more bittersweet. It is the complicated, abiding pleasure, to paraphrase Ralph Waldo Emerson, of finding the universal thread that connects us to the rest of humanity, and, by doing so, turns our small, personal sorrows and individual tragedies into art.

I am given to Facebook updates and blog posts about the small things in life. Now I’ve begun to wonder whether that’s affecting my storytelling. Maybe I’m not building up enough steam over the years, by letting it out through my social media updates. Maybe the fact that I talk about small, impersonal-sounding details on my blog is affecting my storytelling abilities.

What’s your take on this? How much of your inner life/ rants/ life news do you share on Facebook and other social media? If you’re a writer, do you think sharing life experiences on social media detracts from an author’s ability to tell a story?

Have you read the Indian Game of Thrones?


Writing fiction takes a lot of talent, of practicing the craft, of endless learning. As part of learning craft, I’ve had the good fortune of interviewing authors, teachers and agents– and sharing their wisdom with you on this blog. Today, as part of this series, I bring you one of India’s promising authors, Krishna Udayasankar, author of mytho-historical series, The Aryavarta Chronicles, an exciting part of an emerging trend of historical fiction set in India.

Govinda by Krishna Udayshankar

Govinda by Krishna Udayshankar

1. Your first book, Govinda is based on an Indian epic, the Mahabharata. To an audience that doesn’t know the background, how would you sum it up in a teaser?

I’m going to borrow a reader’s comment here and call it: The Indian ‘Game of Thrones’. My own teaser would probably be to call it a story of political intrigue, war, action and social transformation set in what is often called the ‘Epic Age’ of Indian history. Read it also particularly for the characters.

2. Mahabharata is full of magic and myth. You’ve stripped fantasy from it and given your readers a historical socio-economic novel. What was the impetus behind that?

Understanding the history, the kernels of fact behind what has subsequently been aggrandized and used to legitimize or justify social elements, is an essential way of understanding the cultural and moral fabric of the society we live in. Consequently, I wanted to explore the scriptures as the epics as tales of humanity, not divinity; as something that could have been history and not some improbable fantasy-tale that defied all logic and science. The more I tried to find these explanations, the more I caught on to the idea of the epic ages as a time of socio-political revolution, and my story as one of change in the status quo.

3. For you, what are the challenges of writing historical fiction, and what are the rewards?

The biggest reward is a sense of closure. The attempt to demystify these stories and their injunctions is almost like a quest for a more believable truth, an attempt to make these amazing characters and stories more ‘real.’ If I can take the liberty of being dramatic: it helps me make my peace with the world around us.

As for challenges, research is an enjoyable but tough part of the process. It can take many months, even years of painstaking work trying to reconcile legend with logic and scholarly evidence and variations in popular narratives across the world – depending especially on what region and eras you are writing about.

I think the other bittersweet dimension comes up when what I write questions deeply ingrained beliefs or contravenes popular versions of the stories that people know. It has, on occasion, led to pretty strong feedback (if I can call it that) from readers. Don’t get me wrong; I enjoy a good debate any day and more than open to discussion on my books. But the comments do get personal sometimes and I’m still learning to laugh at them, rather than get upset.

4. Who are your favorite authors, and why?

Rudyard Kipling, Isaac Asimov, Kalki Krishnamurthy and J.R.R. Tolkien, to name some. As for the why – it’s the mythopoesy, the world-building, not to mention Kipling’s way with words and phrases. I’m also a fan of the Calvin and Hobbes comics by Bill Watterson. My favourite book, though, is Herman Hesse’s Siddhartha. I also enjoy poetry a lot.

 5. What was the last book you read?

Kaurava by Krishna Udayshankar

Kaurava by Krishna Udayshankar5. What was the last book you read?

I finished both Julian Barnes’ ‘Levels of Life’ and Terry Pratchett’s ‘A Blink of the Screen’, recently. Am now reading John Williams’ ‘Augustus’ and have Vasari’s ‘Lives of the Artists’ lined up on my shelf.

6. What is the aspect of writing that interests you the most?

Daydreaming! Wordsmithy. Writing pithy dialogues, especially between characters that are good friends. Describing emotions usually not explored. Detailing sensations and feelings. Reading to write. Reading, wishing I could write that way. Writing crap and feeling miserable enough to go into existential angst.

Oh wait, you asked me for the aspect that interests me the most, right? That one is easy – I hang out with a really awesome bunch of imaginary friends almost all the time.

7. As an author of historical fiction, what is the one concrete piece of advice you would give to an aspiring fiction writer?

In general, I believe all writers should listen to, and then promptly ignore, all advice. Having said that, I’ll also add, more as a reminder to myself than for the benefit of aspiring writers: Treat your subject/story/material with respect. The story (and this is particularly true for historical fiction) has endured in memory and myth for a long time; it has a life of its own and is bigger than you are. Respect that and engage with the story. It was here before you and your writing, and will probably stick around long after you are gone.

8. Tell us something about your forthcoming publication. Where can readers find the Govinda?

Both Govinda and Kaurava are available in major bookstores as well as online. They are also available as e-books. Kurukshetra, the third volume in the series is expected to be out by this November.

Krishna Udayshankar

Krishna Udayshankar

Krishna Udayasankar is the author of Govinda and Kaurava: Books 1 and 2 of The Aryavarta Chronicles (Hachette, 2012; 2013) a bestselling series of mytho-historical novels that have received critical acclaim. She is also the author of Objects of Affection (Math Paper Press, 2013), a collection of prose poems. A co-editor of Body Boundaries: The Etiquette Anthology of Women’s Writing (The Literary Centre, 2014), Krishna holds a PhD from Nanyang Business School, where she works as Lecturer. Her current projects include a novel based on the mythohistory of Singapore’s founding by a Srivijayan prince. She lives in Singapore with her family, which includes two dogs with varied literary tastes.

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Do you read or write historical fiction?  Have you read any historical fiction set in India? Would you like to read the Aryavarta Chronicles? (Fire away in the comments and one of the commenters would win a copy of Govinda!)

Who do you #Follow ? Who follows You?


Fifteen years ago, the question “Who do you Follow?” would have seemed strange, slightly vague.

A crazy reader like me would have said, Toni Morrison, I try to read all her books, or Alice Munro, or Garcia Marquez. And the list would have gone on. A religious person would have said, I follow Jesus, or Allah or Buddha…who else is worth following?

And then came Social Media.

Following on Social media

Who do you Follow? Who follows You? Photograph by Anita Peppers

You can now follow people on Twitter, Facebook, Instagram, Blog, Youtube, and a gazillion other sites.

You may also have a Social media Strategy.

I don’t know if I have one. I began by muddling on Twitter and Blogging, and my Facebook mostly consists of people I have met, where I post random stuff, links, writing experiences. Nothing private, really. (But then, what is private these days?)

The continuous feed of the thousands of folks I follow on my Twitter and Blogs tire me out– I mostly pick what catches my eye and ignore the rest. I have a list of specific folks whose tweets and blog posts I enjoy, and I try interacting with them whenever I can. I enjoy chatting with folks online, just as much as offline. I’m thankful for those who follow me on my Blog and my Twitter, and I can only hope I don’t bore them out of their skulls or tire them out.

For now, I’m happy with where I am, though sometimes I do consider quitting all social media. Imagine how much I could get done in all that offline time!

(Rant Alert) I don’t know if I’ll take to hawking my books (if I ever publish any) on social media– because frankly, most author marketing pisses me off these days: I don’t want to know about yet another book reveal or giveaway or sale. I’m sure the books are all lovely, but that’s just too much information crowding my timeline. My fault, I guess, for following back every author who followed me. (Rant Over)

What about you? Do you participate in Social Media? Do you have a Social Media Strategy? Do you hawk stuff you’d like to sell on Social Media? Do you buy a book you read about on tweets? Who do you follow? Who follows you?

——

Blogs you must read!

Blogs I Recommend

I’ve been neglecting my duties as a member of the Blogging community, so here’s spreading some love. Bloggers I recommend visiting today:

C. Lee McKenzie : Fab author, awesome blog-friend. If you make one online friend this August, it should be her.

J. Gi. Federizo : But. Consider, please do consider making two blog friends this August. Meet the equally lovely J. Gi. She’s been one of my kindest visitors, and you’ll love her blog voice.

Bruce Goodman : I actually suggest you make three blog friends this month! I love Bruce’s stories, and you would, too. Besides, he leaves you the most awesome comments! What’s not to like? His blog is recommended reading.

 

Been to a Writers’ #Conference ? #Writing


All APW conference photos published with permission from Tim and Deedle Tomlinson.

All AP writers conference photos published with permission from Tim and Deedle Tomlinson.

One of the things I love about writing is the ability to do my job all scruffy, hiding behind my desk, or some nondescript cafe table. A conference? No, thank you very much.

But last week I did attend a conference (the Asia Pacific Writers and Translators Conference), my very first. I admit I’d gone there just for the workshops– they sounded great. One of my first ever ‘writing’ books was Tim Tomlinson’s Portable MFA in Creative Writing, and he would teach a workshop. Dr Sally Breen from Griffith University would lead an editing workshop, and Francesca Rendle-Short would do a session on voice.

I attended all three, and let me tell you– if you ever hear of a workshop from any of them, queue up. My only wish for those sessions?  They should have gone on longer. (I’m sure the others were equally good, but they either didn’t relate to my fields of interest, or clashed with these three.)

A few things I learned from the workshops:

1. Fragments strung together can make a story/ novel, you just need the right connectors.

2. It is perfectly acceptable to write with your left hand, eyes closed, when working around a writer’s block. Or otherwise.

3. Look at each word you use while writing. Take away as many as you can when revising, leaving a spare, beautiful structure.

AWP Writers' conference

All AP Writers conference photos published with permission from Tim and Deedle Tomlinson

I had a short editorial consult with Literary agent Kelly Falconer, and her insights were helpful. Her comments would help me polish my work further.

I also went to book launches. I watched authors read, talk in panels, and chat with each other during breaks. Authors are some of the most interesting people you can meet– they talk about everything from speculative poetry to sunflower seeds and everything else in between. They are also kind, generous, and courageous souls with a sense of humor, who stand up against injustice. (There could have been bitchiness and negativity somewhere, the stuff writers’ events get a rap for, but I didn’t see any that I can report. Quite the opposite!) It all ended in a great open mic session with singing and poetry. Couldn’t have ended on a better note.

So if there’s another writer’s conference I can go to, I’ve decided I will.

Especially if it is organized by Jane Camens, because if not for her help, I wouldn’t have been able to register for the conference or the workshops during weeks of traveling madness. Besides, throughout the conference I saw her add that touch of compassion and good cheer to each event I saw her at– it brought home to me why at the heart of writers’ events we need writers. Not just a great organizer, or fundraiser, but someone who understands writing and writers. (For more details on the conference, read this excellent article.)

What writing conferences have you taken part in? What was your experience like? What advice would you give me and the Daily (w)rite audience on writer’s conferences?

 

Do you have to be intelligent to be evil?


A question like “do you have to be intelligent to be evil” can seem philosophical and vague, but it becomes less theoretical when you apply it to a death penalty court case like the one that has played out in Georgia. Must there be a conniving, Machiavellian mind behind evil, or is it something inherent in anyone — or everyone?

…..At the Rensselaer Polytechnic Institute’s department of cognitive science, a research team explored the logic of evil by programming a computer character named “E” that “acted on” or was motivated by a definition of evil. The Rensselaer crew defined an evil person as one who decided to commit an immoral act without prompting and carry out the plan with the expectation of considerable harm. When reflecting on those deeds, the person would either find incoherent reasons for his or her actions or think the damage caused was good.

….Trying to get an objective answer about evil or intelligence is never going to work. We all have too many inherent prejudices and biases to ever get a response that satisfies us. But looking at something like Dr. Welner’s Depravity Scale does lead me to believe that critical thinking about intelligence and evil does have a purpose in our society: if we’re ever asked to use our own definitions of what is evil and intelligent to judge someone’s actions, we better have a compelling reason to believe our own opinions.

Hakone Open Air Museum

Intelligence and Evil

 

That was an excerpt from an article I read the other day, and though it goes on to talk about insanity pleas and so on, it reminded me of what weighs on all our minds.

Like a lot of us, I’ve been watching Gaza, and also the Malaysian plane shot down in Ukraine.

Since I can’t do anything else to help this world gone mad, where children are murdered (while they play on a beach or fly 33,000 ft above the earth towards a vacation or their homes), I try to gather positive energies. If the world goes negative, the only thing in my small, insignificant hands is to be positive. I can only add myself to the sum total of positive energies in this world, and thus stand against the negatives.

But somehow, I wonder whether the intelligence that has given us humans such an advantage in evolution would one day be our undoing. (Even in the animal world, it is the dolphins who rape, the chimpanzees who murder– is evil a function of intelligence quotient, after all?)

What do you think? Is what’s happening in the war-torn areas of the world a result of intelligence gone mad? Other than ranting and fighting virtual wars on Facebook, how can we as human beings help undo this horrific situation?

Do you have questions for a Literary Agent? #agentchat #amwriting


I’ve been away for a while– traveling and recuperating,  but today I’m back with my  writer’s guest post series in this blog.

It is with great pleasure that I now present Andrea Pasion-Flores from the Jacaranda Literary Agency. She’s a joy to talk to, extremely kind and helpful, yet a thorough professional– a spirit that is reflected in her answers below:

1. You’re both an author and a literary agent. How did this happen, how do you balance the two roles, and how do they affect each other?

For Love and Kisses: Andrea Pasion-Flores

For Love and Kisses: Andrea Pasion-Flores

It’s difficult, but I try to make the time. I’m also a mom and a college teacher. But I find that my many roles feed on each other. My teaching (it helps that I teach literature) and my being a writer certainly help me spot a good story and allow me to help the writers in our list improve their writing.

2. As an agent, what are the sort of books are you looking for?

I’m looking for the distinct voice, fabulous narrative, mastery of language. It’s hard to describe. I guess I want to be blown away.

3. As a reader, who are your favorite authors, and why?

There are so many! At the moment Aravind Adiga, Junot Diaz, Mohsin Hamid, Chimamanda Adichie, Jhumpa Lahiri, Gilda Cordero-Fernando, Kerima Polotan, Gabriel Garcia Marquez, Salman Rushdie, Jose Y. Dalisay, Sally Gardner, Zadie Smith come to mind… so many!

4. What was the last book you read as a reader, and not an agent?

Maggot Moon by Sally Gardner–fantastic, young adult dystopia. I want to buy all her books!

5. What book, published in recent times, do you think should be more recognized, and one that you think is overrated?

Haha. This is a trick question! I think Asian lit in general should be recognized. It’s sorely underrated and not as widely available. I think most of the independent presses, carried by the indie bookstores, are doing a lot of good stuff. Unfortunately, we’re all used to going to the mainstream bookstores to buy what’s pushed by mainstream media–especially the kind with the movie tie-ins. The answer to the second part of your question is hinted. But, having said that, the “overrated” have their markets–and they do serve an important purpose: they get people into the habit of reading! Besides, who doesn’t enjoy a quick read or two now and then? I certainly do. So I say the overrated books are great. I’d love to pick some out and push them myself.

6. As an author, what is the aspect of writing that interests you the most?

I like discovering where a story will take me, each story being different from the past stories I’ve written although in some sense the same. When I wrote the stories in my book, I didn’t quite realize how easily they fit into each other when I put them together years after they were written.

7. As an agent, what is the one concrete piece of advice you would give to an aspiring fiction writer?

The real writing happens in the revision. One of my creative writing teachers said this to me. The more painful the process, the easier it reads. The first draft shouldn’t be given to anyone, so don’t give them to me. If you let an agent read a first draft, and it’s not great, you’re not likely to be taken on.

8. Tell us something about your latest publication. Where can readers find the book?

Ken Spillman’s blurb reads thus:
“Andrea Pasion-Flores unpacks the black boxes of everyday disasters. Among the casualties are women burned by men and children bruised by the turbulence of relationships around them. Among futile love affairs, irretrievable marriages and unspoken loss, we are brought face to face with hungry ghosts and consuming frailties.”

It’s a collection of stories written over a 10-year period. That span of time yielded many other things for me aside from stories, such as a government job, three kids (two of them twins), etc. So it does feel like a slim volume, given the amount of time it took. However, there was also that feeling that I have to bring out the best of what I’ve written thus far so I do feel those are seven good ones (with varying length and styles to show a range). In Singapore, there are a few copies at the moment with Closet Full of Books.

——–

Andrea Pasion-Flores

Andrea Pasion-Flores

Andrea Pasion-Flores  is the former Executive Director of the National Book Development Board of the Philippines, where she was known for her pioneering work introducing high-impact literary events to the country. Andrea is also a copyright lawyer and teaches English at the University of the Philippines as a member of the faculty of the Department of English and Comparative Literature. She brings her experience in these fields into her role as an agent with the Jacaranda Literary Agency. She is also a Philippine contemporary author in English, and the author of bestselling book Have Baby Will Date, as well as her recently published short story collection: For Love and Kisses.

Dear reader, Have you read any of the authors Andrea mentions? Are you looking for a literary agent? Do you have any questions for Andrea Pasion-Flores? I’ll be randomly choosing one reader from the comments below, to receive a gift copy of Andrea’s book– so fire away!