REVIEW: “Tapping the Source” by Elizabeth Hand

Review of Elizabeth Hand, “Tapping the Source”, in Tod McCoy and M. Huw Evans, eds., Pocket Workshop: Essays on Living as a Writer (Hydra House Clarion West Writers Workshop, 2021): 119-122 — Purchase here. Reviewed by Sara L. Uckelman. (Read the review of the anthology.)

In this essay, Hand offers an alternative to the standard adage “write what you know”. Instead, she says “write what you’ve felt” (p. 119), and that the scenes which draw upon your own emotional experiences are the ones that will resonate with readers. In order to help people develop the skill of writing what they’ve felt, she provides a two-step exercise, one that she has used effectively in teaching over many years. It feels a bit awkward to simply repeat the instructions in this review, and I’m not sure that summarising would get me something much different, so I’ll leave it at: This exercise looks like a useful and valuable one, even if done individually instead of as part of a group, and I look forward to trying it.

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REVIEW: “The Narrative Gift as a Moral Conundrum” by Ursula K. Le Guin

Review of Ursula K. Le Guin, “The Narrative Gift as a Moral Conundrum”, in Tod McCoy and M. Huw Evans, eds., Pocket Workshop: Essays on Living as a Writer (Hydra House Clarion West Writers Workshop, 2021): 113-117 — Purchase here. Reviewed by Sara L. Uckelman. (Read the review of the anthology.)

I was let down by this piece, because I felt the title promised something that was never delivered on. The conundrum Le Guin identifies is this:

I believe a good story, plotted or plotless, rightly told, is satisfying as such and in itself. But here, with “rightly told,” is my conundrum or mystery (p. 114).

But what is the moral dimension of this conundrum? I even read the essay twice to see if I had missed the moral aspect the first time around, but didn’t learn anything new the second time around.

I’ll probably read it a third time, on the assumption that the flaw lies with me and not the essay, but it does seem like this piece was included more because of who it was written by than because of what it said.

(First published on https://www.ursulakleguin.com/ in 2004, reprinted in No Time To Spare, 2018).

Sara L. Uckelman2 Comments

REVIEW: “Something to Cry About” by Nisi Shawl

Review of Nisi Shawl, “Something to Cry About”, in Tod McCoy and M. Huw Evans, eds., Pocket Workshop: Essays on Living as a Writer (Hydra House Clarion West Writers Workshop, 2021): 107-111 — Purchase here. Reviewed by Sara L. Uckelman. (Read the review of the anthology.)

This essay was not at all what I expected it would be about. I thought it would be about how to write emotion, to get the reader invested, how to give them “something to cry about”. Instead, I was treated to an excellent essay on depictions of race, especially of people from the Afrodiaspora via a glimpse of a life, and a culture, unlike my own. It was another essay that teaches what to do by showing how to do it, rather than just talking about it.

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REVIEW: “Researching Imaginary Worlds” by Ken MacLeod

Review of Ken MacLeod, “Researching Imaginary Worlds”, in Tod McCoy and M. Huw Evans, eds., Pocket Workshop: Essays on Living as a Writer (Hydra House Clarion West Writers Workshop, 2021): 101-106 — Purchase here. Reviewed by Sara L. Uckelman. (Read the review of the anthology.)

I didn’t get what I was hoping I would from this essay. I was hoping for a bit more on what to research than on how to research it. If you are not already a researcher, then there is probably some good advice in here; if you’ve come from a background where you’re already a trained researcher, then this piece will offer little that you don’t already know.

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REVIEW: “Diversity Plus: Diverse Story Forms, Not Just Diverse Faces” by Henry Lien

Review of Henry Lien, “Diversity Plus: Diverse Story Forms, Not Just Diverse Faces”, in Tod McCoy and M. Huw Evans, eds., Pocket Workshop: Essays on Living as a Writer (Hydra House Clarion West Writers Workshop, 2021): 93-100 — Purchase here. Reviewed by Sara L. Uckelman. (Read the review of the anthology.)

The take-home message of this essay (one of the ones I was particularly interested in reading when I looked over the table of contents) is simply this:

Diversity can (and should) also icnlude different story forms drawn from diverse traditions (p. 93).

So simple, it almost warrants the response “duh” — but sometimes, the simplest facts are the easiest overlooked if they are never made explicit.

Of course, Lien doesn’t leave it at that: This fact is the opening of his essay, not the conclusion of it. In the remainder, he introduces the East Asian four-act story structure, contrasting it with the “Western three-act story structure and the five-act Freytag pyramid variant” (p. 94) (if you, like me, don’t know what the Freytag pyramid variant is, that’s okay, knowing what it is doesn’t seem to be essential). Like a lot of the other essays in this anthology, Lien takes a very practical, demonstrative approach, not content with simply describing the structures and talking about how they could be instantiated, but taking a concrete example — My Neighbor Totoro — and showing exactly how it does.

Lien’s piece leaves me itching to try this new structure, and thanks to his essay, I have all the tools I need to give it a go.

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REVIEW: “The Three Laws of Great Endings and My Two Shameless Hacks” by James Patrick Kelly

Review of James Patrick Kelly, “The Three Laws of Great Endings and My Two Shameless Hacks”, in Tod McCoy and M. Huw Evans, eds., Pocket Workshop: Essays on Living as a Writer (Hydra House Clarion West Writers Workshop, 2021): 87-91 — Purchase here. Reviewed by Sara L. Uckelman. (Read the review of the anthology.)

I read this essay with great interest, because endings are something I struggled with. The rules seem anodyne enough, but I look forward to trying out the hacks on my next story. I also found it instructive to read Kelly’s advice while thinking of endings that I personally find particularly successful (for some value of “success”; if “still be thinking about it next Thursday” (p. 89) is a measure of success, then the ending of Pynchon’s The Crying of Lot-49, which made me angry enough to throw the book across the room and still makes me angry some 20 years after I first read it, totally counts).

The first hack is to “dissect your ending into three parts: climax, resolution, and denouement” (p. 87), with Kelly giving specific guidance on what he means by this dissection — concrete questions to ask yourself about each part once you’ve identified them. It’s the sort of exercise that sounds like it would be rather horrific to do the first couple of times but I can see how it would pay off (rather like reading your story out loud to proofread it; terribly cringeworthy when you start, but soon you realise the value of the process and you can’t do without it).

The second hack is “to make up ten different endings to your story…[but] you must spend at least twenty-four hours on this process” (p. 89), and unlike the previous one, this exercise sounds like loads of fun, and I can’t wait to try it.

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REVIEW: “The Old Marvellous” by John Crowley

Review of John Crowley, “The Old Marvellous”, in Tod McCoy and M. Huw Evans, eds., Pocket Workshop: Essays on Living as a Writer (Hydra House Clarion West Writers Workshop, 2021): 79-85 — Purchase here. Reviewed by Sara L. Uckelman. (Read the review of the anthology.)

This piece has less practical advice and more ideas and issues to reflect on. Crowley’s focus in his essay is the distinction, and relationship, between allegory and symbolism. It’s hard to talk about allegory without talking about Christian theology, and there is rather more religion, and reference to C.S. Lewis, than one might have expected to find in an anthology of advice about writing. Crowley makes the astute point, though, that while “realist fictions are full of struggles between persons whose moral and spiritual parts are mostly hidden or unfixed”, in fantasy fiction these “same moral or spiritual energies” are embodied and made explicit in the story itself (p. 82). That doesn’t mean that all fantasy fiction is allegorical (nor that all allegory is religious) but that allegory is always much closer to hand for the writer (and reader!) of fantasy fiction than of realist fiction.

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REVIEW: “Neowise” by Paul Park

Review of Paul Park, “Neowise”, in Tod McCoy and M. Huw Evans, eds., Pocket Workshop: Essays on Living as a Writer (Hydra House Clarion West Writers Workshop, 2021): 73-77 — Purchase here. Reviewed by Sara L. Uckelman. (Read the review of the anthology.)

This is another piece that shows, rather than tells, how to write well. Lots of truth, a good deal of fiction, and plenty of space for the reader to take away the lessons they need to hear.

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REVIEW: “Status” by Helen Marshall

Review of Helen Marshall, “Status”, in Tod McCoy and M. Huw Evans, eds., Pocket Workshop: Essays on Living as a Writer (Hydra House Clarion West Writers Workshop, 2021): 63-72 — Purchase here. Reviewed by Sara L. Uckelman. (Read the review of the anthology.)

As both a writer and a teacher (but not — usually — one of writing!), Marshall’s piece really spoke to me. There is little in terms of explicit advice or guidance in it; rather, it’s more like Marshall is telling a story about telling stories, in a way that feels both real and familiar. It’s a piece to read and reflect on, with the moral being found in whatever the reader brings to it themself. For me, that moral is that there’s more similarity between teaching and writing than I think Marshall gives credit to.

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REVIEW: “Channeling Voices” by Andy Duncan

Review of Andy Duncan, “Channeling Voices”, in Tod McCoy and M. Huw Evans, eds., Pocket Workshop: Essays on Living as a Writer (Hydra House Clarion West Writers Workshop, 2021): 57-62 — Purchase here. Reviewed by Sara L. Uckelman. (Read the review of the anthology.)

“Voice,” Duncan says, is one of those things where “we sure do recognize it when we read it or write it” (p. 58) even if saying what it is remains elusive. Duncan’s piece addresses two different types of voice that can be channeled: The metaphorical “voice” of the author, that thing which gives each individual writer something distinctive that no other author has; and the much more literal voices of people who speak, to themselves or to others. How can one preserve the former without erasing the latter? How can an author “channel” a variety of speeches, rhythms, patterns of exchange and interaction without losing what is distinctive about their own way of telling stories? Duncan gives concrete advice, on how to listen, how (and what!) to collect, what to pay attention to, making this a valuable practical piece.

Sara L. Uckelman1 Comment