Writing programs, whether they be of the one-day or the week-long-getaway variety, can be good or bad things. In particular, I think anyone who is a closeted writer (ie. short stories and poetry hidden on your computer like pornography) and feels the need to affirm (or reaffirm) their direction should consider – at least as an option – a writing program. Provided you do some research and find a good course, a writing program allows you to unload your craft in front of others, receive honest feedback, and illuminate your shortcomings as well as your strengths.
Of course, there are always risks. Your teacher/mentor may not get along with you at all, for stylistic or personality-related reasons. You could be a poet in a room full of prose writers. You may find your peers to be full of themselves. You may find yourself an unintentional participant in a Self-Congratulations Society, where no one will accept or voice constructive criticism.
I lucked out, to put it briefly
Many years ago, I hooked up with a Toronto-based group, headed by someone who ran a web-based forum for local writers. It was ok. It wasn’t what I wanted then, though of course I can articulate it perfectly now. The person coordinating the meeting I attended (and as an aside, being someone who coordinates a couple of groups now, it can be a thankless, dispiriting job) was not, at least on the surface, someone focused on the art or spirit of writing. She seemed more interested in writing events (contests and the like) rather than writing itself. This, I contend, is not wrong, but rather – being the sensitive philosophical type I am – it simply didn’t jive with what I wanted. But even this is good, because the more you investigate the more you learn about what you need versus want. As a result of trial-by-error, your desires become less metaphysical and more concrete.
Fast-forward years later…my then-fiancée, Ingrid, who works in publishing, recommended the Humber College School for Writers’ Summer Workshop. I had a novel. I didn’t know whether it was good or bad, and it wasn’t helped that I had no writer friends to bounce it off of for feedback. I looked into the program and decided to attend (financed by American Express). I ended up spending a week in a classroom of eight, with poet/novelist DM Thomas (The White Hotel) as our mentor. It was perfect. I could not have asked for a more seminal experience. Everything clicked. I walked away at the end, having attended seminars, Q&A’s, and forums, with a much more evolved viewpoint of both the art and business of writing.
That week I learned to love and respect the art of revising/editing, something I’d always treated like poison. I met some great people who, for the first time, I could actually talk to about writing without having to explain what writing was in order to help them understand me. I was publicly confronted with a then-serious illness (habitually using it’s when I should’ve been using its). I was flattered by the positive feedback I received but not stung or made sullen by honest critiques either.
As a result of that single week, my outlook, philosophy, and activity in writing was immensely deepened. I started a monthly writers’ group – the very same sort of group I was searching for in vain before – which carries on successfully to this day (we celebrate our 3rd “birthaversary” this summer, in fact). The novel which had consumed so much of my time back then has since been shelved, having realised that it needed so much work that it was better for me to start from scratch and return to it later (under the axiom, “if you love someone set them free”). Now, of course, I have a new novel which I’m very happy with (along with a nice collection of short stories).
I write this because sometimes – particularly when you are an artist, alone, in an environment seemingly bereft of people who can empathize with what you do – it’s important to look outside for that next important step: getting involved so as to help yourself. As writers, we can’t allow ourselves to fall into the trap of thinking we are failures if we do not wake up at 5am, complete four chapters by lunch, followed by spending the afternoon staring solemnly out of our 3rd storey “writing nook” windows while we wait for the absinthe to kick in. That’s mythology.
I should also mention an extremely good (short) book, called Art & Fear: Observations on the Perils (and Rewards) of Artmaking, by David Bayles and Ted Orland [ISBN: 0961454733]. I recommend it to anyone from any artistic background who is looking for some objective advice, written by people who truly understand. Lastly, even though I mention this book and provide a link to the Humber College course previously, it’s just as important for people to discover what’s right for themselves – there are many options out there. Please do your research.
