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MinnSpec -- Minnesota Speculative Fiction Writers Message Board MinnSpec -- Minnesota Speculative Fiction Writers Discussion Forum › Beyond Competent and Accomplished (Words of Wisdom from Kelly Link)

Beyond Competent and Accomplished (Words of Wisdom from Kelly Link)

Hilary Moon M.
Group Organizer
Minneapolis, MN
Post #: 6,066
Charles C. Finlay reprinted this essay from Kelly Link in his livejournal. While it is about OWW (the Online Writing Workshop) it echoes warnings that I received from Karen Joy Fowler and Tim Powers at Clarion, so I thought that I would include it here for people to mull over.



In the past few months, it seems to me that there is a great deal of competent work being posted to the Online Writing Workshop. This month there was a handful of stories that could have been Editor's Choices, and all of them are probably good enough, with minor revisions, to sell to some of the second- or third-tier markets. Some of you will sell -- or already have sold -- your work to _Asimov's_ or _F&SF_. This is one of the largest workshops that I've ever been a part of, and it works. I read the comments on stories, and, like any workshop, there is good advice and bad advice and just plain weird advice being given. Part of becoming a better writer is not only learning what to take away from good advice, but what to take away (or figure out) about bad advice or off-the-wall advice. The only kind of critique that I worry about, in the long run, is the tendency of a workshop to sand off all the interesting edges from a writer. Workshops frequently reward writers of competent prose who can tell stories that are smaller in scope and easy to understand. A group of writers will find it easier to agree about certain kinds of stories -- the kind that ought to sell to magazines, because we've all read exactly that kind of story in magazines -- than about more ambitious stories. The more ambitious or individual a story is, the argument goes, the fewer readers that story will find. So play it safe: tone down the interesting stuff.

The problem with this kind of advice is that there are a lot of writers out there who can pull off an accomplished and enjoyable story. (Like I said, I could have selected a whole handful of pretty good stories this month.) So even though some of you are writing stories that are good enough to be published, you're competing for magazine space with writers who already have readers, and relationships with editors. Your competent stories may not actually be good enough to sell to the magazines that you would most like to be in. So what do you do? You can make a career (and a name for yourself) out of selling work to second- and third-tier magazines. But again, there are a lot of pretty good writers out there. Even at a zine like _Lady Churchill's Rosebud Wristlet_, we have a backlog of two issues' worth of short stories. We have more good work than we can publish. So what can you do?

What I would like to see workshop members doing, now, is beginning to submit more ambitious work. The only thing you have to offer an editor, and readers, is you. Your voice. Stories and characters and narrative twists that only you are strange enough to want to write. Take risks. Some of you are in critique circles that have been going for quite some time. You know each other well enough to have built trust. And it takes trust to show a workshop the kind of ambitious work I'd like to see. Take chances. Write stories whose characters and the endings surprise even you. After you've written them, go back over them and make them even more surprising. And don't think by "ambitious" I mean that the prose style has to be eccentric (although it certainly can be). And read widely -- not just the new stuff, and each other's work, but older work, too. I've been reading through the collection PLATINUM POHL, and there are fantastic and alarming and wonderful short stories in there. Are there some inside you?

--Kelly Link
Michael M.
Hopkins, MN
Post #: 226
For the record, here is how I replied to that post in Charlie's journal:


This is something I've been thinking about lately, as I wrestle with how much participation in the (online writing) workshop I will continue to have. It has seemed to me that on those occasions when I do come across something different and a little "out there", there is a chorus of critiquers admonishing the writer for being too experimental and trying to steer them toward "safer" territory.

I don't want safe territory. I can write competent prose that will sell to 2nd and 3rd tier markets. I want to make the jump out of those markets and into the top tier. I really feel like If I'm going to do that I need to be workshopping with people who either have the same goal in mind and are understanding of experimental or even slightly off-the-deep-end work or have made that leap into the top tier themselves.

And I'm not sure I'm getting that from my beloved OWW these days.

Ricky E F.
Minneapolis, MN
Post #: 119
I certainly agree with Mr. Link. I've hadn't thought of it before in the terms he is using, but I had noticed and struggled against the trends he had mentioned. I've run up against exactly what he is talking about. I'm with Michael, Speculative Fiction isn't meant to be safe.
Jaye L.
Saint Paul, MN
Post #: 174
An excellent essay. I would subtitle it, "When good enough is not good enough."

We need to find ways to challenge each other. So far I'd categorize our workshop as diplomatically helpful, and I think that's fine for this stage of our evolution. We're still getting acquainted with one another's writing and critiquing abilities. But as that trust builds, we will have to learn how to push each other further out of our personal comfort zones.
A former member
Post #: 4
Thank you, Hmm!
I don't think we need to modify our "diplomatic critiquing" to allow this to happen. I have been in a couple of writing groups that were full of technically competent writers who were quite hostile to esoteric ideas or unusual techniques, and I find just an absence of hostility to be quite stimulating.
There are exercises to actually stir up or generate creativity, some are quite simple, such as Natalie Goldberg's timed writing exercises. I would love to participate in such, but that is outside how our present group is set up.
Rather than greatly modify the present format, another group for such activities would be needed. While I am not an organizer type, I would be happy to contribute suggestions, as I have many of Goldberg's books and tapes.
I know there are other Writing Creativity Workshop tapes and books in the library as well.
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