Review: Writers’ Workshop

*Gracie Bialecki is a writer, performer, and editor of Paris Lit Up magazine. You can buy her book here.

We artists know, creating is as solitary as you make it. I may need hours alone getting the words onto the page, but once they’re there, they can only be edited to a certain point. I’ve found it’s impossible to take myself far enough out of a piece to see what doesn’t make sense, catch any dropped details, and stumble over clumsy sentences. The way someone else reads my work is entirely different than the way it sounds in my head. As writers, we’re so close to what we’re trying to say—it always makes sense to us. We need readers to give us their interpretations, and help us see from the other side of the page.

             Luckily, here in Paris, we have Paris Lit Up’s writing workshop, moderated by the unfailingly honest, unflinchingly supportive Matt Jones. Thanks to him and its participants, this monthly meeting is a wonderful balance of helpful feedback and positive energy. Striving to bring their unbiased perspectives, participants tell authors which parts of their writing “isn’t working.” That’s to say, parts which are confusing, superfluous, disorganized, and perhaps even offensive. In this way, the workshop gives us a space to help each other fix the mistakes we’re blind to.

Matt Jones welcomes you to the PLU Writers’ Workshop

            Writers’ workshops can feel like a combination of group therapy and Thanksgiving dinner. We courageously share our creative fictions, baring emotions we’ve toiled to put into words, only to have a pedantic uncle tell us the main character is unlikeable, egocentric. Are we the main character? Maybe. And maybe, also, he has a point. If we didn’t intend the character to be solipsistic, it might be worth a re-write. Or maybe we did want them that way, and our efforts have been redeemed. Having multiple opinions can help weigh one against the other, and of course, as writers, we must also trust ourselves. Workshop allows us to arrive with a text that makes sense to a more universal audience, while still being true to our artistic choices.

             Often feedback is straightforward, practical, and easily applicable. Maybe that clever sentence that you worked so hard on is overwrought, maybe we need to clear out the weeds around what you’re really trying to say. As a member of the workshop, I’ve been able to edit my work so the writing is cleaner and clearer—closer to what I wanted to say. And even if I don’t bring a piece of my own, being there as a reader helps me see my mistakes in others’ writing. Just as we know we’ve learned something when we’re able to teach it, we’re able to stop making lexical and grammatical errors when we start seeing them.

Matt says, “listen to your editors first.”

            Earlier in August, I switched sides of the metaphorical table and participated in the workshop as a guest speaker. After a brief lecture, we read two different examples of dialogue and discussed the effect of each. In writing, the rules are subjective and stylistic differences are so broad it’s difficult to say what is “correct,” depending on the spirit of the piece—its length, subject, theme and aspirations. Still, as we talked about leaving space for the reader’s imagination to fill in details, leaving out quotidian transactions, and being scrupulous with our descriptions, it felt like we were getting closer to our own personal definitions. And in the course of the conversation, I was reminded of my own bad habits and ways to fix them.

             Often, when people find out if I’m a writer who moved to Paris, they ask if the city inspires me. I know they want me to say yes—the beautiful buildings and verdant parks, the myriad museums and the surprise clusters of music. Of course, I cannot walk down these ancient streets without poetic sentences springing forth. But really, I’m inspired by the city’s writers and readers. And it’s their feedback and support which gives me the tenacity to pick up my pen and keep writing, day after day.

Concluding workshop-thoughts, so deep

FAQs

 How do I sign up?

Join the email list here for all the juicy details and Zoom info.

When/where is the workshop?

Usually at Shakespeare and Company in Paris, but for the duration of the Covid crisis, we’ve moved to Zoom. This has opened the doors to more international speakers.

How long does the average workshop run?

Usually two hours, from 18-20h, Paris time. The workshop will begin with a guest speaker who’ll talk on an aspect of craft. Then we’ll dig into the pieces using a shared Google Drive folder. If not everyone has had a chance to workshop their writing, we’ll create a little splinter group of editors so that the “stragglers” don’t miss the chance for feedback.

How many participants are usually there?

Normally between ten and twenty.

Can I participate in the workshop without submitting?

Of course. Take as long as you need to share your work. We encourage all attendees to share their insights, doubts, and concerns about the work they’re reviewing, though!

What kind of pieces can I submit? Is anything not allowed?

All forms of writing are welcome. Hate speech will get a rough welcome. We’re very open-minded and tolerant people.

How do I donate to Paris Lit Up?

Hit the can, folks

The “Can.” Click here to donate.