Here are some of my notes from a couple of lectures:
In fiction, 2 plus 2 should equal more than four.
Flannery O'Connor's stories have despicable characters who have a moment of redemption
In fiction, the link between actions and motives isn't always clear and taking on a motivation can be demeaning to a character.
*Trust what you don't understand
*Look for an action you can't explain
All writing comes from oral stories and from song
Our effort to express painful, complex, sometimes ecstatic emotional states brings the piece closer to song
A matter of pacing--slow down characters hurt or in danger
The lyric moment must be earned--must feel organic to what comes before
It's the effort to capture truth that makes beauty on the page. Path to truth is through shame.
3 problems in a story:
*nothing changes: failure to recognize plot as mechanism to force characters up against their desires
*bail out in peak emotional moments
*Lapse into sentiment--asserted by author not felt by character
You see, I was paying attention, despite my incessant yawning.
- My work can be found in REAL: Regarding Arts and Letters, The Jabberwock Review, The Emerson Review, Storyglossia, The MacGuffin, Confrontation, Passages North, SmokeLong Quarterly, elimae, wigleaf, Pank, New Delta Review, and Gargoyle #57, among others. One of my stories has been translated into Farsi by Asadollah Amraee, and many others by Jalil Jafari, two of which have been published in the Iranian journal, Golestaneh Magazine. Currently, I'm an Associate editor for Narrative Magazine. In 2011, I was awarded the Carol Houck Smith Contributor Scholarship for the Bread Loaf Writers' Conference.