The Wednesday Web Browser for Writers

  • There’s a lot to absorb in this Fiction Writers Review interview with Joan Leegant. Stick with it to the end–especially if you’re one of us writers who didn’t have a first book published in our twenties (or thirties).
  • Daniel Nester asks, “What are the ‘rules’ of a creative writing workshop?”
  • On a related note, Lily Hoang presents the syllabus for the first MFA workshop (fiction) that she’s teaching.
  • And while we’re still talking about pedagogy: Congratulations to Stephanie Vanderslice, whose book Rethinking Creative Writing is now available in hard copy as well as in e-book version. (Stephanie is running a contest to mark this milestone: check her blog for details, and revisit our interview here.)
  • There are some real gems in this issue of Nieman Reports, “Writing the Book.” Given the source, the material will appeal especially to nonfiction writers, but there’s likely something useful for all practicing writers in these virtual pages. Sections include:”Concept to Content,” “Platform to Audience,” and “Voice to Visual.”
  • It’s the last day for you to become eligible to win a free copy of Quiet Americans!
  • Thursday’s Work-in-Progress: Musings on and Resources for Micro-Essays

    If you follow me on Twitter, you may have caught my delighted announcement last Saturday about a just-accepted essay. In fact, last week was pretty remarkable, because I received two essay acceptances. But the Saturday acceptance was notable for a couple of reasons.

    First, that acceptance came after the same piece (or some iterations of it) had been rejected several times. Nowhere near as many rejections as some of my short stories have suffered on their way to publication–but still, finding this piece a home was by no means a super-smooth (or super-swift) process. By the time this essay is published, nearly one year will have elapsed since I began sending it out.

    Second, the accepted piece exemplifies something that seems increasingly integral to my writing practice: the micro-essay (also known as flash nonfiction). I have two other new micro-essays circulating right now (yes, one of them developed from the poetry exercise I mentioned not long ago). If you add up the word counts of the three pieces–the one that was just accepted and the two newer ones–you don’t even reach 1500 words.

    I’m only beginning to understand how and why this focus is developing for me. Which is why I was thrilled to discover “Focusing on Flash Nonfiction: An Interview with Dinty W. Moore” on the River Teeth blog this week. Among Moore’s many hats is the editorship of Brevity: A Journal of Concise Literary Nonfiction.

    In addition to sharing his expert take on crafting flash nonfiction, Moore recommends some journals that feature this type of writing. Which reminded me of two other places where one may find potential homes for micro-essays: Pamelyn Casto’s newsletter and The Review Review‘s flash fiction resource list (also useful for flash nonfiction).

    I suspect that I’ll be continuing to look for nice homes for flash nonfiction (not to mention additional places to read good examples of it), so if you have other suggestions–either for resource lists or specific venues–please share! Maybe we can come up with the “Ultimate List of Magazines & Journals That Publish Flash Nonfiction & Micro-Essays.”

    Quotation of the Week: Zelda Popkin

    “You do not conceive a novel as easily as you conceive a child, nor even half as easily as you create nonfiction work. A journalist amasses facts, anecdotes and interviews with top brass. Enough of these add up to a book. A novelist demands quite different things. He has to find himself in his materials, to know for sure how he would feel and act and the events he writes about. In addition, he requires a catalyst — a person, idea, or emotion which coalesces his ingredients and makes them jell into a solid purpose.”

    –Zelda Popkin

    Source: Zelda Popkin’s autobiography, Open Every Door, as quoted in “A Forgotten Forerunner: Zelda Popkin’s Novels of the Holocaust and the 1948 War,” by Jeremy D. Popkin. I’m not sure that all of the nonfiction writers I know would agree with the statement above. But as I mentioned last week, it was Zelda Popkin’s journalistic/nonfiction work that led me to a key anecdote that shapes my new story, Fidelis,” and I’ve found out a little more about her. The article I’ve reference is fascinating, for anyone who has access to the database (or a really good library!).

    Thursday’s Work-in-Progress: How to Tell a True War Story

    As many of you know, the big reveal has happened: The commissioned story that I’ve mentioned several times on the blog over the past few months is out in the world, and I’ve been shouting the news from the virtual mountaintops. The story is titled “Fidelis,” and I am so proud to say that it is part of this year’s Hanukkah Lights broadcast on National Public Radio. (Local air dates and times vary, but my story–as well as the others featured this year–can be accessed at the link I’ve given you.)

    Of course, my first “thank-you” must go to the series producer, who contacted me during the summer with the stunning invitation to write something for the broadcast. When he cited something that he particularly appreciated about Quiet Americans–about the way he perceived the stories making the past resonant in the present–I knew that I was going to write a piece of historical fiction. He was a pleasure to work with. And his one revision request improved the story immeasurably.

    Beyond that, and the word count, the only “limitation” was that the story had to “pertain to the Hanukkah season.” When I realized that this December would mark the 70th anniversary of Pearl Harbor (remember, I’m an historian by training), I knew that I was one step closer to finding a story to tell.

    I owe a great deal of thanks to Rabbi Lisa S. Greene, who helped guide me to extremely useful background resources on Hanukkah. And I am immeasurably grateful to three readers of early drafts for their constructive critiques: B.J. Epstein, Natalie Wexler, and my mom!

    Most important–and hopefully without giving too much away–I’m grateful to the military veterans–including chaplains–who have given us all so much.

    Please go listen to the story. And then come back here to find out which books and other resources helped me write it. (more…)