One
of the best things about being in an MFA writing program is the opportunity to
get a variety of eyes on your work. And so, when the applications for the Lawrence Sanders
Writer-in-Residence workshop with fiction and nonfiction
writer Paul Lisicky came out this year, I knew I had to sign up. Inwardly,
though, I groaned. How was I expected to devote two hours per day for one
straight week in the midst of my regular courseload, the odd jobs I work to
make ends meet, and the fact that all staff members for our literary magazine Swamp Ape Review were one week ahead of
the 2018 AWP Conference & Bookfair? Regardless, I sucked it up and
submitted my application. And I’m so glad I did.
Not only was Paul down-to-Earth, but he
created a space in which he challenged participants to reconsider structure,
imagery, and form in ways I had never before conceptualized. Our week began
with reading short pieces that utilized repetition and scaffolding. We studied
writers like Nick Flynn, reading a segment from his memoir The Ticking is the Bomb, paying close attention to the chapters
centered around the images presented in their titles. After a lively discussion
of the day’s readings, Paul would then challenge us with short writing
exercises. The form of the workshop was a welcome introduction to an experience
I had never encountered - the chance to apply what we were learning in class in
the moment. The week culminated in two days of bringing in short pieces that
were image-centered, concise, and cohesively structured. Rather than focusing
on critique, Paul created a space in which we expressly emphasized what was
working in each of our pieces - a welcome break from the traditional workshop
format!
One
of the biggest challenges I face as a writer is writing concisely. Too often, I
end up over-elaborating and over-explaining every plot detail I am trying to
depict. Working with Paul was helpful because he exposed us to pieces in which
the writers had the opposite approach. By trimming down the content, the themes
of each piece shone through that much more strongly because diction was
carefully chosen and frame was considered. It was a lesson I needed to learn
and one I will apply to the pieces I currently am generating for my thesis.
Paul
was gracious both in class with his feedback and outside of class with his
time. His door was always open for those who wanted to meet with him one-on-one
and we enjoyed congregating with him after class time, asking questions about
the fellowships he’s received, his own experience in his MFA program, and how
he approaches teaching creative writing. Our week working with Paul was
certainly an influential one and an experience I will remember fondly in the
years to come.
Originally
a Metro Detroit native, Mary Mattingly now lives in South Florida. Currently,
she is pursuing an MFA in fiction at Florida Atlantic University, where she’s
experimenting with form and trying (and failing) to keep her bar tabs low. Her
work has previously been seen in the literary journal, Arcturus.
