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I often hear that networking is one of the big side benefits of any professional gathering. Wheeling and dealing and making connections with people who can help you is supposed to lead to all kinds of good things. Intellectually I get that. Practically speaking, you could make an argument that I don't even know what networking is. Though I do know not to follow editors or agents into an elevator or public restroom and "network" with them there. I've heard about that happening at professional writer gatherings, too.

Yes, I'm one of those folks who tries to time her arrival and departure at events so as to get as little of the meet and greet and fun evening stuff as possible. What I do really like at a writer gathering, though, are the bits and pieces of writer talk you pick up at odd moments. Examples from this past weekend's retreat:

Essays

On Friday night I met a writer who is also an Episcopal minister.She's working on a YA historical novel dealing with a Biblical figure. (I'm thinking maybe something like Not the End of the World by Geraldine McCaughrean.) We got into a discussion of sermons (of which she has written many) as essays. She pointed out that the formal essays of the nineteenth century involved making arguments, whereas many ministers today use story in their essay/sermons. (Creative nonfiction?) Church attendance, she said, is supposed to be a transformative experience. (Now that I think about it, I believe I've read that reading is supposed to be, or often is, a transformative experience.) She wondered if an essay developed as a story would be as transforming as an essay developed around an argument created to convince listeners. Seriously, if you're into essays, this kind of discussion is golden.

On-line Research

 

On Saturday morning, a writer in my critique group told us about using YouTube for research. She's working on a book that is set, in part, in China, and she found YouTube videos of Chinese factories. Just what she needed. This is marvelous news. Need some convincing? Laura Hillenbrand, who suffers from chronic fatigue syndrome and is extremely limited in how far she can travel and how long she can work, researched Seabiscuit on eBay. Before she wrote the book, Seabiscuit memorabilia was dirt cheap. The Internet is also golden.

Public Readings (Like Talking)

Saturday night, we had a sort of open mic night, with volunteers doing short readings for the group. We're gathering beforehand, and I start thinking, Oh, shoot. I keep forgetting. I don't like listening to readings. Should I run? But readings are much more enjoyable when you know some of the readers. And the readings are very short. And there's cake. Something to keep in mind.

The Hero's Journey Conversation

Finally, on Sunday morning I was walking to our meeting room with an editor, and we're talking about the hero's journey. The hero's journey freaks me out because of all the steps and charts associated with it. So I was telling her about a Salon essay I read in which the author argued that the hero's journey was a cliche, particularly in movies and YA literature, and that viewers and readers are getting tired of it. The editor said something along the lines of, "Oh, I totally disagree. The whole point of the hero's journey is that, if done properly, it fits every story. It's just more obvious in some than in others." Now, she didn't make me a believer in the ol' journey of the hero by any means. (Did you look at those charts?) But what struck me about that conversation was that it was a conversation.

Why Writer Talk Matters

So much of what I take in about writing, my work, is through reading. I don't get anyone else's take on it, because a writer can go a long time without being with another writer. And then you've got to find another writer who has read the same piece you read and cared enough about it to file some memory of it away. I like to think I'm a moderately analytical person with a data base of writing knowledge to apply to anything I read. But it's still just me, me, me. It's really quite marvelous to hear someone say something about the things I've been thinking about, even if I don't agree with it.

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On the first night of the Falling Leaves Novel Master Class Retreat, Kathy Dawson of Kathy Dawson Books ran a program she called The Heart of the Matter. It involved participants creating pitches, summaries, and catalog, back cover, or flap copy for their manuscripts, not for the sake of preparing marketing materials but to help them seek out a deeper element of their stories. The point was to help participants pinpoint what they believed they were saying in their books so they could make sure it was, indeed, in the books.

A Specific Case

The other editors totally got what Kathy was talking about and "the heart of the matter" was referred to over and over again over the weekend. I, however, didn't get it until towards the end of my meeting with Mallory Kass during the critique of the material I'd submitted. She kept talking about why my protagonist wanted to do what he was doing? And what about that relationship with his brother? How about making the older brother more of a problem child? I thought I'd been clear about why he wanted to do what he was doing, and was she talking about some kind of trite teen angst thing for the older brother? Hey, I don't do trite.

And, then, right there on the porch where we'd been talking for about fifteen minutes, I suddenly realized that there was something deeper going on with my protagonist. I had even hinted at it a few times. And his relationship with his brother could be a big part of it, in a very nontrite way. This book had a heart to its matter that I had only been toying with.

Not every book will have some kind of deeper heart, and not every book has to. A book that's all about action, in which the action is the point, can often get along with just that. But if you have a story that does, indeed, have a deeper element, maybe something thematic, maybe a so what?, why not find it and bring it out, like a thread in a the pattern in a piece of material?

A Reverse Halo Effect

Back in the Dark Ages when I worked for a management and personnel consulting office, we ran workshops and distributed evaluations to participants after the events. The professors were concerned about the halo effect, the tendency to believe that because you had a good time at a workshop, liked the instructor, and enjoyed the lunch, the content of the workshop must be good, too. Participants who evaluated a workshop at the end of the day and again a few weeks later, often gave lower scores on the second go-round. By that time, the glow was off and they'd had a chance to see whether the workshop content had been beneficial to them.

If I had evaluated the Heart of the Matter presentation on Friday night, right after hearing it, my response would have been, "Yeah, this is okay." It was only in the context of the whole weekend that I appreciated what the "heart of the matter" is about and how it could impact my work. In a twist on the halo effect, I would rate it higher now that more time has passed.

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The Falling Leaves Master Class Retreat sponsored by SCBWI Eastern New York alternates its topics among novels, nonfiction, and picture books. Next year it will be time for another picture book retreat.

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Well, my plan to blog my experience at the Falling Leaves Novel Master Class went up in smoke when I couldn't get on-line while I was there. This was due to my inability to control my new laptop and make it understand that I am the boss, because other participants were getting on-line with no problem. This is too bad because I had an initial post planned about how 70 percent of any writer excursion is getting there in the first place. I'll have to save it for another trip. And now I can wring more blog posts out of the experience, because I've had time to overthink it. This is what people mean when they say, "It's all good."

I was able to deal with the collapse of my blogging plan because the whole mindfulness/do not hold on to desire (as in a desire for how things are supposed to be) thing is becoming a science for me, an absolute science, I tell you. Another big factor in the success of my weekend was the book I was listening to in the car, Bossypants by Tina Fey. Fey has a background in improvisational comedy, and listed some basic improv rules, only one of which I remember, "Always say yes." As in, yes, I will build on whatever my improv partner shoots my way. She sees this as a life skill, by the way, which can be used in many situations. "Don't hold on to desire" and "Always say yes" were big factors in the success of this weekend.

I had a fantasy about what this retreat would be. It involved intensely working on my manuscript with other writers who were working on theirs in some kind of monastic situation while one of the editors in attendance walked among us doing the "When you can take this stone from my hand, grasshopper" spiel. I do not know where this came from. It was delusional. By the time I went to bed Friday night (I've included a picture of my bedroom--and yes, I am slovenly--because I love that kind of behind-the-scenes stuff.), I realized that wasn't going to happen. We were 35 writers  working in reading and responding workshops, not the sweatshop of my dreams. There was a lot of weekend left, and I made a conscious effort to let go of my desire for things to be one particular way because it seemed like the best new plan at the time.

Now, Saturday morning we divided up into critique groups, and in the afternoon we each had a twenty-five minute individual critique with an editor. This is where Tina Fey's "Always say yes" came into play. In order to get anything from critiques, you have to be willing to say yes. Probably not to everything that's said to you, especially when you're in a group where some of the feedback could be contradictory, because you would go nuts. But overall, you have to take the attitude that yes, something here could do me some good.

In this case, "Always say yes" is similar to the zenny/martial arts admonition to "Maintain the mind of a beginner." The beginner who knows little has opportunities to learn. The really knowledgeable are kind of scre...ah, out of luck...because if you know it all, what more is there for you to gain? Not a good situation to be in.

I almost did that to myself in the afternoon while working with my editor, Mallory Kass of Scholastic. She's talking about wanting to know my protagonist's problem, and I'm thinking, Oh, problem, problem, problem, that is so cliched. (Please, God, don't let me have said that out loud, though I suppose it's too late to be praying for that now.) All of a sudden, as we're batting thoughts around, I come up with the beginning of something that is desire/problem like enough to be a desire/problem but new enough to keep me happy. This could, indeed, add depth and maybe even some more logic to the manuscript in question.

At the last minute, I managed to "say yes" and "maintain the mind of a beginner." The picture to the left shows the spot where I worked for an hour and a half revising my first chapter after talking with Mallory.

Today on the way home, I listened to the rest of Bossypants. Fey talks about working with Alec Baldwin. She said something along the lines of  "Working alongside Alec may not make me a better actor, but now I know why I'm bad."* This weekend's retreat may not make me a better writer, but now I know why I'm bad. With many skill-oriented activities, knowing why you're bad is a big step toward becoming less bad.

Lots more retreat thoughts to come.

*Remember, I was listening to an audiobook. Quote is pulled from my memory.

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This weekend I'm off to the Falling Leaves Master Class for Novels Retreat that I told you about back in September. This takes place over a weekend, a weekend is a unit of time, what am I going to do with that time? For that matter, all retreats take place over a unit of time, a unit of time that writers could use for anything, the retreat being just one of their options. There is an opportunity cost involved with our choices on how to use our time. Do we gain enough from a retreat to justify the time cost?

What Is a Writers' Retreat, Anyway?

I tend to have a very formal, traditional writers' retreat fantasy that involves going some place remote and working away from the distractions of family, home, and day jobs. My fantasy does include getting together with other writers for meals and doing some exercising and reading. Okay, it pretty much involves doing only what I want to do.

That isn't necessarily what other writers think of as retreats, though. A writer friend once told me she didn't see the point of going away to be with other people and then work and not be with them. I've also heard a writer discussing a  retreat she attended at which writers worked together on a couch while either instant messaging or tweeting each other. The writer telling this story had a good time.

Additionally, many writers' retreats have programs and events scheduled for most of the day. They're like mini-conferences for limited numbers of people often in a remote, scenic area. My guess is that the big difference between a conference and these kinds of retreats is the size and the number of programs offered each hour--one at a retreat versus multiple at a conference. At any rate, many retreats appear to be about something other than actually working.

How To Get The Best Bang For Your Time

 

Choose Carefully.  I contacted the Falling Leaves staff to see if there would be any writing time during the weekend before applying. In addition, this is a master class retreat. While there are four presentations from editors, those presentations are related to the manuscripts we submitted in order to be accepted, and we've had to prepare for them. This could end up being like some kind of monastic study experience. I'll actually be bringing two projects to work on.

Create Objectives. I had three original objectives for the retreat when applying.

• Community-building.
• Writing
• Getting away from Gail Universe and enter another for a couple of days. 

I've been prepping for over a week for the editors' presentations, and now that I'm back into this project I would switch the writing and community-building objectives. I'd really like to get more work done, even if it's not traditional writing but some kind of revision or planning.

Now, I have far more experience obsessing about time and how I'm using it than I do with writers' retreats, but the way I feel right now, it's unlikely I would take the time to go to a writers' retreat that is primarily presentations without a specific work project involved.

But we will see how I feel about the time involved for writers' retreats next week. At the very least, I'm expecting to meet my objective of getting away from Gail Universe for a couple of days.

 

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