SRAWP: Margaret Atwood’s Keynote Speech

I’m terrible at sitting through speeches. I can sit in a lecture hall and watch a PowerPoint, participate in productive class discussions, and I take great chemistry notes. But when it comes to listening to a single speaker stand on a podium without any sort of interactive media, I usually end up thinking about the ceiling or dinner or Words With Friends or something equally not speech-related. The speaker’s well-prepared words waste away right outside my eardrums. It’s pretty embarrassing, the sad state of my attention span.

Thankfully though, this was very much not the case with Margaret Atwood’s keynote speech at this year’s AWP conference in Chicago. Maybe it was the opulent theater, or that I had already eaten, or that her stories are some of the most influential works in my personal reading and writing career…but I was absolutely rapt during the entire event. Her words were well-chosen, hilarious, and put together in a speech just long enough to make it worth the windy walk, short enough to keep me out of Lala-land. Here, then, for all the folks who couldn’t make it, or those who did but were on their phones (tsk tsk), are the main points I took from her time on the podium.

 

MARGARET ATWOOD on THE CRAFT OF WRITING

 

  1. Reading is just as important as writing. Writers who don’t read don’t actually want to write, they just want someone to listen to them talk about their life.
  2. Spelling is the least of your worries as a writer. Leave those sorts of details to editors and that bouncing paperclip in the corner of Microsoft Word.
  3. Part of studying the craft of writing is ripping things up and starting again.
  4. “Artsy-fartsy” vs. “Craftsy-waftsy”: There is a difference between the art and the craft of writing. “Art” implies an elitist state of being, while “craft” is the proletarian act of doing. Even if you are a gifted artist, you will not develop without getting down and dirty with the crafting of your skill.
  5. Writing is a tool, and so can be used to make, fix, or destroy things. Make sure that you are always using the right tool for the right job. That is, your voice, style, and tone should fit the content and emotion of your work.
  6. Keep your literary “key signature” and “tempo” in mind while writing. Is your piece in a “major” or a “minor” key? How fast should it go; where should your story speed up and slow down?
  7. What is your voice? Who is speaking to whom? How much does your reader get to know?
  8. When faced with writer’s block, try some of the following:
    1. Change the tense or narrator.
    2. Alter your first scene.
    3. Go to the movies.
    4. Some words from Charles Dickens to keep in mind: “Make them laugh, make them cry, make them wait.”
  9. There will always be someone who doesn’t like your work. That doesn’t mean that there are any fewer people who do.

 

What We’re Reading

Here’s what Superstition Review interns are currently reading.

Corinne Randall, Poetry Editor: Right now I am currently reading my FAVORITE Shakespeare plays, Othello. Like all good Shakespeare tragedies it has a sad ending but it’s powerful through and through.

Samantha Allen, Art Editor: Oryx and Crake by Margaret Atwood. It’s a blend of literary fiction and sci-fi, a character-driven story about “Snowman” — formerly Jimmy — who appears to be the last man on Earth. Through Snowman’s flashbacks, the reader sees a near-future image of a North American city segregated into the slummy ‘pleeblands’ and the enclosed communities owned by corporations engaged in research on genetic modification. Though Atwood includes some seemingly-fantastical elements in her novel, her research is so thorough and impeccable that through her narrator’s detailed explanations, the outlandish feels entirely realistic. Her emotionally intense prose and air of scientific authority make Oryx and Crake a very compelling read.

Ljubo Popovich, Poetry Editor: I just got into Chilean writer Roberto Bolaño. I recommend his long novels: The Savage Detectives and 2666. Also his collections of short stories are excellent. The one I read was Last Evenings on Earth. He writes about lives of writers in South America and Europe. He founded the poetry movement InfraRealism in South America and is considered the heir to Gabriel Garcia Marquez’s literary triumphs. I also read Masuji Ibuse’s collection of short stories, Salamander and other stories. This Japanese writer is [rather] unknown in the United States. But his historical novel Black Rain, about the events leading up to and following the bombs dropped on Hiroshima and Nagasaki is considered one of the greatest novels to come out of Post-War Japan. His prose is very easy to read and very beautifully rendered, even in translation.

Jake Adler, Art Editor: Guyland by Michael Kimmel. It’s a sociological study about how today’s boys in college are failing to grow up, thrusting themselves deep in frat life and “guy code.”

Tana Ingram, Fiction Editor: Train Dreams by Denis Johnson. It’s about a day laborer, Robert Grainier, in the American West at the start of the twentieth century. The book follows Robert through difficult trials of his own set against the changes taking place in the country as “progress” sweeps the nation. Johnson does a good job of transporting the reader back to this turbulent time and place in America’s history.

Marie Lazaro, Interview Editor: Just Kids by Patti Smith. So far the way it is written is beautiful and the story is easily captivating. It explores a new side of Patti Smith, gives insight to the personal relationships she had with her family during her childhood and gives a look into her bond with Robert Mapplethorpe.

 

Just Write

Britney Gulbrandsen is an Interview Editor at Superstition Review. When not interviewing authors she spends her time reading, writing, crafting and spending time with her family.

I’ve recently been asked the question, “How do you write?” The question has been posed several different ways, the language varied depending upon the person asking, but the message remains the same: what is my process for writing?

Well, my first reaction to this question was, “I just put my pen to paper—or fingers to keyboard, depending upon my mood—and write.” But I wasn’t going to get out of the question that easily. So I examined my process more closely to think of what my method actually was.

Here is what I came up with:

  1. Sit down with a blank page looming in front of me.
  2. Turn on some light music (my writing playlist on iTunes).
  3. Stare into oblivion.
  4. Check my email.
  5. Update my Facebook status.
  6. Turn to my list of ideas or my list of things that inspire me.
  7. Check my email again.
  8. Finally begin to write.

Now I know that sounds like a joke, but ninety percent of the time, that is actually what I do when I sit down to write. But the real depth of my process comes from the tips I’ve gained and learned from experience.

My Tips:

  1. Read as much as I possibly can. I’m a firm believer that the more you read, the better you will write.
  2. Read the genres that I want to write, as well as many others. I read everything: novels, short stories, poetry, essays, memoirs, magazines, newspapers, articles, blogs, etc.
  3. Keep pieces that inspire me near my writing desk. When I’m feeling a lack of creativity, I turn to one of them.
  4. When an idea comes to me, I write it down immediately. I’ve learned through experience that I won’t stop and write things down in a notebook I carry with me. It just won’t happen. But I do have an app on my phone that allows me to write notes to myself as well as to make checklists. So when I think of something intriguing that might work itself into a story, I quickly type it into my phone. Then I transfer it to paper later on when I have more time.
  5. Develop my characters. This is crucial. Characters will transform the story. When writing a longer work, such as a novel, I get to know my main character(s) before I begin to write. I go through every detail until I feel that, in a way, I have become my character. This means that I work through the character’s hobbies, fears, dreams, motivation, favorites (movie, book, food, song, store, activity, etc.) most tender memory, what he/she would grab in a fire, every aspect of what that character looks like, each personality trait, and much more. I want to get to know my characters from the inside out. Generally, most of this information won’t make it into the actual story itself, but it will help me understand my character so I will know what he/she would do or say in a certain situation.
  6. If I need to stop writing before I finish the story, I go back and reread the past few sentences or so before I sit down to write the next time. This helps get me back in the mindset of my story and characters.
  7. I write down everything that comes to my mind. Lots of things won’t make it into my final draft, but none of that matters now. Something raw—even a list of sorts—can help lead me to some revelation later on. The first write-through is for ideas. It’s all about getting the story out.
  8. Let go of whatever ending I have in mind if it just doesn’t work. I once had this “grand” idea for a short story that I had created from beginning to end in my mind. When I finished actually writing it, I realized the ending didn’t work. My character would never do what he did in my story. So I erased that portion and let my character guide me based on what he would actually do. The ending is so much crisper and realistic now.
  9. Revise, revise, revise and then be done with it. I’ve learned that I can always make changes to my work. In my mind, it will never be good enough to get published. I may think it’s ready, but if I put it away for a week, take it out, read it again, I will inevitably find something to change. But at some point, enough is enough. It’s time to try to get it published.

I’m learning more and more every day. Each time I sit down to write, I learn something new. But the biggest thing I’ve learned is to just write.

 

Guest Article: Spotlight on Kelly Vo, by Asonta Benetti

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Kelly Vo.

Superstition Review student intern Asonta Benetti interviewed past intern Kelly Vo to see how she was impacted by her experiences with SR:

“It really was not a planned internship,” Kelly Vo remembers, “but I know that without the amazing experiences I had at Superstition Review, I wouldn’t be as prepared for the next steps of my life.” Vo started with SR in Spring 2008, helping kick off the premier issue by holding down the Fiction Editor position with another colleague. “I didn’t know how much work and time went into getting an online magazine off the ground and running,” she recollects. “Creating a new magazine is a huge project and I know that it would not have turned into such a wonderful magazine if it wasn’t for the fact that we all collaborated and worked together to make a great product.”

Vo is currently an intern at E.B. Lane Publishing, working in the advertising Account Management sector. She plans to graduate this coming December and has applied to join Teach for America. “I very much enjoyed being an intern for Superstition Review. It was an amazing experience. I had never worked on a magazine before and I never really thought it would be something that I would enjoy but it ended up being a blast.”

Intern Highlights: Alex Linden

superstision 1Superstition Review is unique as an online literary and arts journal, being primarily produced by student interns from Arizona State University. There are two of each genre editor–one of which, Poetry Editor,

Alex Linden was kind and generous enough to provide us with a little time and insight into what she does for SR and what she likes to do. Look forward to more information about your editors in upcoming blogs, newsletters, and the website.

Superstition Review: What inspired you to start working with SR?

Alex Linden: I thought it would be a really great experience. I had Managing Editor Patricia Murphy for a couple of online classes and she mentioned that she was starting an online literary journal with student editors. It sounded innovative and fun.

SR: What do you enjoy most about SR?

AL: I just really love reading poetry. Comparing my opinions with fellow editors is interesting. People tend to point out things I might not notice about a particular piece.

SR: What kinds of things do you have to do as a Poetry Editor?

AL: First of all, solicit authors who we would like to see published. It was really exciting to be able to send emails to writers I respect deeply, and have some of them respond with submissions. Then, of course, read all of the submissions that come in and decide which to choose. We also did online interviews—which were great because due to the online format we had time to craft some really thoughtful and precise questions.

SR: What are your own personal tastes and preferences in poetry, and how do they affect what you select, both positively and negatively?

AL: Like most people, I like poetry that makes me feel something. Even a poem that annoys me or baffles me is better than one that is boring. I tend to like poetry that is more on the confessional side, and poetry that is a little shocking. Sharon Olds is my favorite poet.

I would try to not let this affect what poems I select because I think it is important to think outside of the box. At the same time, being completely objective isn’t possible. This is why it is important to have two poetry editors—we try to balance each other out. There were poems I would never select at first, but when encouraged to take a second look at, I definitely appreciated more.

SR: What are your plans for next semester?

AL: To graduate college! And hopefully get into graduate school.

SR: What do you do and enjoy most outside of SR?

AL: I love music, to go to concerts. I read a lot and write whenever possible.

SR: What do you feel you’ve learned from this internship?

AL: The whole process of how an online journal works. It takes a lot of patience and persistence. I am really impressed by everyone—especially those who started the magazine.

SR: What would you say about your own personality is your best working asset?

AL: I don’t procrastinate! Usually 🙂

Thanks so much to Alex Linden and all of our editors for your time and dedication to issue 2! You know I am looking forward to the release! I have faith that you have all done an amazing job. If you would like to be featured in a blog for Superstition Review, please comment and I’ll get in touch with you!