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Notes On Writing
- Feb 2012: Our characters are malleable
- Jan 2012 - Dilemma: The Source of Our Story
- Dec 2011: 10 Guideposts To A Good Writing Instructor
- November 2011: One Thing Readers Hate
- October 2011: Third Acts Are A Bitch - Reframing The Protagonist's Goal
- Aug. 2011
- July 2011: Banishing Redundancies
- June 2011 Newsletter
- Newsletter - May 2011
- Newsletter - April 2011
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WRITING WHAT YOU KNOW
Write what you know. We’ve heard this so often. What does it mean? Does it mean that if I am a mechanic I should only write about mechanics? If I am a woman I can only write about women. No, of course not. What it means is that we should write what we know to be true, as opposed to what we wish were true, or hope to be true, or even what we believe to be true.
To write what we know, means that we are being asked to write about something that we have experienced on an emotional level and come out the other side of. We have learned the lesson, and have been transformed by the experience.
In the story, Brokeback Mountain, Annie Proulx writes about a pair of twenty-year old gay cowboys in Wyoming. Proulx is a seventy-year old straight woman. But she wasn’t writing about cowboys, she was writing about the danger of not proclaiming your truth. She was writing about the universal challenge of standing up and being true to yourself in the face of possible resistance. She was writing about the tragedy that results when one is not willing to take the risk of loving. These are universal themes. In other words, we have all had the experience of being faced with a situation where to do something will put us in a position of receiving flak, and we must ask ourselves where our values lie.
There is a basic tension that underlies every human interchange. It is constantly at play. It is the tension between wanting to belong and wanting to be an individual. It is the constant struggle for an identity. It is a struggle that never ends. We are still struggling with it on our deathbeds. It is the struggle for authenticity. I submit that it is this struggle from which most, if not all, stories emerge. It is this struggle that begets the large thematic questions, such as, Who am I? Where do I belong? What is my purpose? What is love? We are constantly struggling between desire and fear. The desire to belong, and the fear of losing our identity or sense of purpose.
Story, like life, is this constant search for our true identity. As soon as we think we’ve found the answer, another problem arises that distracts us from the truth. The truth is that we are OK right now, in this moment. It is important, as storytellers, to understand this basic truth. When we are connected to the truth that our hero is already free, we are, paradoxically, far more inclined to put them in harm’s way, to explore their conflict.
The challenge in writing what we know, as we imagine the world of the story, is to hold the images and ideas that we write down, loosely. Sometimes the first image or idea that we write down is in fact a gateway to a deeper or more specific idea or image, the real place the story wants to go. If we hold on tightly to the first image, we will never allow our unconscious to go where it really wants to go. Ideas can be like weigh stations. We submerge to a level, and we swim around in it for a while, and then we get comfortable there, and we go deeper. Our unconscious does not push us into areas that we are not equipped to handle. It takes time to become comfortable with new consciousness. Story is about this shift in consciousness. What happens (plot), is merely a vehicle to illuminate the beats that lead to this transformation.
Let me repeat. Hold your ideas loosely. Do not become too attached to what ‘must’ happen. We are always moving from the general to the specific. If you hold onto an idea too tightly, you will become blocked and you will choke off the possibility of the real truth from emerging.
***
The other morning, I was lying in bed next to my fiance. I’m half-asleep and I can hear a dog barking in the house next door or somewhere off in the distance, and I can feel myself growing irritated. It barks in three-second intervals. It goes on for a long time, until I begin paying closer attention.
As I put my attention on this noise, I suddenly realize that the noise is in fact coming from my fiance’s nostril. Her nose is blocked, making this very quiet expulsion of air. It is actually a tiny sound coming from my fiance’s resting her head on my shoulder, and not a wild barking from somewhere off in the distance. With this sudden realization, my irritation evaporates instantly, and I am charmed, delighted.
Very simply, this is a transformation. The situation has not changed, not one bit, the noise continues, exactly the same, however my relationship to the noise has altered, and once again, my world is restored to order, and I am home.
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The first month is dedicated to stream-of-consciousness writing exercises as you begin to develop a relationship to the world of your screenplay. The instructor works one-on-one with writers each week to illustrate story principles. Through guidance and inquiry into the nature of your premise, an outline naturally emerges. Month two is devote to writing the first draft. The instructor leads you through the hero’s journey week by week, as the first draft unfolds. The final five weeks are spent on the polish. Below is a brief outline of the weekly topics covered.
Guest Lecturers for this course will be:
Allison Burnett, screenwriter of Underworld 4, and the upcoming Gone - “10 Secrets to selling a studio spec script.” (Note: Allison has sold his last SEVEN consecutive spec screenplays to the studios!!)
Tony Vitale, screenwriter/director/producer of the Sundance hit, Kiss Me, Guido. “How to get your script to the screen” – proven methods of getting your screenplay sold, produced, and distributed.”
Mindi White, author of Getting Past Me: A Writer’s Guide to Production Company Readers. Top Hollywood script reader will discuss the fatal mistakes and how to avoid them to get past the gatekeepers at the production companies.
MONTH ONE: THE OUTLINE
WEEK ONE
Imagining the world of the story
The power of the subconscious
Seeing beyond the initial idea
Character suggests plot
Stream-of-consciousness writing exercises
The structure questions
WEEK TWO
The Three-Act Structure
The dilemma at the heart of the story
Single and multiple protagonists
Plot versus theme
WEEK THREE
Conflict/Tension/Antagonists
The protagonist’s false belief
Story involves the betrayal of a lie
Transformation/Wants and needs
WEEK FOUR
Writing cinematically
Writing film dialogue
Beats/Scenes/Sequences and Acts
Narrative Drive
MONTH TWO: THE FIRST DRAFT
WEEK FIVE
Beginnings
Theme
Inciting Incident
Opposing Argument
The protagonist’s decision
WEEK SIX
The protagonist’s false victory
The protagonist’s temptation
The worthy antagonist
Turning points
WEEK SEVEN
The protagonist suffers
Raising the stakes
The protagonist surrenders
WEEK EIGHT
The protagonist reframes his goal
The protagonist is reborn
The protagonist makes a new choice
Transformation/Resolution of the dilemma
Closing credits
MONTH THREE: THE REVISION
WEEK NINE
A new outline
Reordering scenes
Conflating scenes
Adding material
WEEK TEN
Revisiting Act One
Clarifying the dilemma
(reading scenes)
WEEK ELEVEN
Revisiting Act Two – Part One
(reading scenes)
WEEK TWELVE
Revisiting Act Two – Part Two
(reading scenes)
WEEK THIRTEEN
Revisiting Act Three
(reading scenes)
Interview with top Hollywood
script consultant: “Simple techniques to
make your script stand out from the crowd.”
WEEK FOURTEEN
You’re done. Now what?
How to sell your screenplay
Getting an agent/Networking/
Producing your own work/
Optioning your script
Tools, tricks and tips to making
it as a screenwriter in Hollywood
1) When we stay out of the result, we move in the direction of our story.
2) Story involves a transformation. There can be no transformation without surrender.
3) Our idea of our story is never the whole story. It’s not that our idea is incorrect, but that it is incomplete.
4) We are a channel for the story. When we hold our idea of the story loosely and allow our characters to live, our perspective on the story widens.
5) Character reveals plot. By staying connected to our characters’ primal drives, conflict arises, and the plot thickens.
6) By allowing ourselves to be surprised in our daily writing, a coherent narrative gradually reveals itself.
7) When we try to figure it out, we tend to kill the aliveness of our characters and our story flat-lines.
8) When we explore the nature of a moment or scene, we connect to what makes it universally relatable.
9) By exploring the opposite direction of where we believe our story ought to move, we are led to a more dynamic and clearer version of the story.
10) When we see our characters as functions of a universal dilemma rather than real people we tend to loosen our grip on how they ought to behave, and
consequently they appear more like real people.
11) Story is malleable. When we stay connected to the ineffable impulse that got us started, the order of events may alter, characters might be conflated, scenes added or deleted, but the essential story will remain the same.
12) In creating a story, we cannot make a mistake. Everything we write either belongs or is leading is to what ultimately belongs in our story.
Choosing a writing instructor is a big decision. They are not all created equal. Here are some guidelines and suggestions that may help you in making your decision.
1) Is the instructor qualified? Does he have what you’re seeking? One can’t teach what one doesn’t possess. Has he accomplished himself in the area that you’re seeking instruction? Don’t confuse a writing instructor with an English major. It’s one thing to quote Joyce, and another to identify with, support, and offer guidance to the daily struggle of the serious working writer.
2) Is she kind? Honesty without kindness is cruelty. Of course we want our creative teachers to be straight with us, but if they can’t do it without positive reinforcement, they ought not to be teaching. Period.
3) Watch out for gurus and authorities: This is common in creative instruction. Insecure teachers often overcompensate with an authoritarian tone. When our creative work is judged by someone who insists on having all the answers…Run, don’t walk for the exit! There are no answers. Any instructor that confuses principles with rules is a hack.
4) Setting a tone. Is the class tone chaotic? Rigid? Are the other students supportive, encouraging and friendly, or are they competitive and distancing? Part of the instructor’s job is to set the tone for the class. If the tone isn’t inclusive, it’s difficult to do your best work. (Some MFA programs will disagree with this assessment, as if the writer must be tested and broken in order to triumph. Writing instruction need not be a Darwinian nightmare.)
5) Punctuality: When the instructor shows up late, it’s a bad sign. He doesn’t respect himself, and he doesn’t respect you.
6) Curiosity: There are many fundamentals to be learned, but there are no rules. If your instructor does not display a deep curiosity for what you’re attempting to express, he is not serving your needs.
7) Respect: An instructor’s single most important job is to teach you to trust your instincts. Our stories live fully and completely within us. When a teacher treats you with basic respect, it has a powerful effect on allowing your creative self to emerge. When a teacher is rude or dismissive, it can kill the creative channel. Along with this, your job is to discover and celebrate your voice. A teacher who encourages you to mimic the writing of another is disrespectful, and sadly all too common.
Boundaries: If you choose to leave the class, the instructor does not bully or hound you to stay. She smiles, gives you a hug and says, “Keep writing. I’m here whenever you need me.”
9) Maturity: Your instructor is a grownup. He can take care of himself. In creative workshops the developing artist is going to run the gamut of emotions. It can be scary and even messy at times. The instructor is there to guide, nurture, encourage, support and cheerlead. Not the other way around! It is in the job description that the instructor do everything he or she can do to help the writer to find his voice.
Because when we truly find our voice, an instructor is someone who can…
10) Say goodbye and send you on your way: A good instructor’s job is to make himself obsolete. You are not supposed to stay in class forever. You are supposed to find your voice and share it with the world…and if you so choose, to guide and mentor those that come after you.
A writing instructor is just that…one who instructs. She claims credit for nothing. Your work is your own. It belongs to you. Her only job is help you to become most fully the artist you were meant to be. Good luck with your search.
I went $64,000 in debt for my MFA in fiction writing. I sit in this class and I wonder why. This is a great class!
– Frank Wilderson (WINNER of 2008 American Book Award for his memoir Incognegro)
“The idea of bringing a first draft of a novel to fruition seemed too daunting and overwhelming to even consider until I was introduced to Al’s 90-Day Novel Class. His methodology is deep and precise, and helps unearth unconscious themes and characters in you that let the story almost tell itself.”
– Rebecca de Mornay (actress/writer)
“For the daunting task of writing my first novel, I needed support and a nice kick in the pants. Al has a great foot! He is a skilled and adventuresome navigator, helping me explore what lies uniquely within my subconscious, which, when prodded with loving hands, knows the truth of my story all along. Al sends out the perfect signals to get you to the end of your novel.”
- Donna Powers (co-screenwriter of The Italian Job)
“I can sum up my experience with Al in The 90 Day Novel in one sentence. In 90 days, I became a writer. I stopped talking about what I was gonna write, and I began writing. And because of that I finally understood what Al and other great artists talk about– when you commit to something and focus enough energy around it, Universal forces conspire in your favor. The work gets done for you and through you. Working with Al is to witness someone who is living his purpose. By osmosis, and through the teachings, you begin to live yours too. Thank you Al. I go to sleep each night satisfied that I have done what I know I am meant to do. I am fulfilled. I love being a writer.”
– Kate West (90-day novelist)
“Alan Watt offers not only a safe environment to talk through your writer’s demons while on the journey but the structure and insights that make the trip fun and enjoyable. It’s worth every penny and then some.”
– Peter Shuyler (author/screenwriter)
What they teach you in MFA programs is how to rewrite, not generate raw material. Believe me, I know. I went to a ‘prestigious’ MFA program where I eventually rewrote myself into a corner. Then I stopped writing for almost ten years. On a whim, I signed up for the 90-Day Novel, and now I‘ve left that corner for good. Through the class, I learned how to play, inquire, and access the raw material needed for my story to come alive. The act of writing has become thrilling and fun again. Thank you, Al!
– Dorcas Nung (LMFT/90-Day Novelist)
“Al Watt goes deep into our unconscious to pry the most out of our inner genius. That, and his superb attention to detail, his daily notes of encouragement and guidance, his insightful exercises and questions, make him a formidable teacher in the pursuit of greatness and originality in story telling – our story that must come out of the bowels of our guts! He is brilliant.”
– Bebe McGarry (author/screenwriter)
“I’ve told several people with some confidence that I’m a writer. I admit I’m new to it and not yet published, but I can hold my head up and say I write. I get that confidence from the 90-Day Novel Workshop. Alan Watt, you are brilliant. How do you do that? How do you keep track of the students, their stories, their characters? How can you have an immediate response, insight, suggestion to what’s going on with the characters and sometimes the writer? The only pause in our 90-minute sessions is when a student has difficulty unmuting. You never miss a beat. That’s amazing. This workshop is so much more than learning how to write. I enrolled in the 90-Day Novel course on blind faith. If I had had some foreshadow of what I was going to go through I probably would have said “Uh…I don’t think I’m ready for that.” Amazing. I’m aware that you’re well respected by accomplished writers, still you teach the course in a humble way, making even me, as the brand new to writing student, feel just as worthy. Just as uniquely qualified. In our egomaniac culture I find this extremely amazing. I see story all around me. I feel so much more alive. This is where I fall back into a loss for words. It’s that thing I call God. You probably understand what I’m trying to say.”
– Judith Scott (90-Day Novelist)
“Al Watt is a fantastic teacher…and delivers the most concise, most graspable breakdown of story structure that I’ve ever heard.”
- Andrew Lampl (playwright)
“Al’s 90-Day Novel is the best writing workshop I have ever taken. The supportive nature of the class inspires and motivates you to write everyday and to get to the true heart of your story. By the end of the 90th day I had completed my rough draft (300 pages long) and developed a writing ritual that I have adopted for the rest of my life. Thank you Al!”
- Jennifer Scott
“The 90-Day Novel is the most fun and exhilarating feeling I have ever experienced, like falling in love. Really, I never had this feeling before, not at Harvard, not getting my book published, I don’t even know how to put it into words. Al Watt is the best teacher I have ever had. He creates a space that is so safe and nurturing, I want to get it wrong because now I know I’ll be able to get it right. Al, thank you so much for sharing what you know and your experience with me.”
Maureen O’Crean (author I Am Diva: Every Woman’s Guide to Outrageous Living)
“In September 2009 I met Al and he promised me that within three months I would have the first draft written. I thought he was a little confident, but maybe I was too confident about my many years of writers block. Fortunately he was right, and now in the 90-Day Rewrite class – not five months later – I am totally and miraculously engaged in the second draft of my first novel.
“In unabashed adulation of Al, I want to say that he has a gift for making people comfortable and confident inside their own heads. I know (and don’t quite know) how he got me to write again, but I have also watched him do the same thing with everyone in class – and has done it all over the phone! He manages to set a tone that is supportive without being gratuitous, and he does so with intelligence and compassion. Writing a novel can be a cold and lonely gray day for the writer, especially when beginning, but Al knows how to get in your head with you and he shows you how to use the sunny side of the journey to harness the inevitable dark side of writing, and use it constructively.
“The online workshop has also been helpful for me since I travel a lot, so I can call from anywhere and rarely have to miss a class. Also, the online group page has been a huge support for me. I feel like there are virtual friends experiencing the same thing and Al’s daily newsletters are supportive and make me feel like I am not going at this alone.
“I can’t recommend this process enough to anyone who needs to write, whether you are an experienced writer or just have an inkling of something to say. I am very lucky to have come across Al and his workshop.”
- Lara Taubman (art journalist)
“I found this wonderful class searching for writing classes on the Internet. The 90-Day Novel workshop is a good way to get your writing out of your head and onto the printed page. Al Watt is serious about his writing, and he truly wants to help other writers find the story that lives inside themselves.”
- Regina Pia (90-Day Novelist)
“Not only is Alan a gifted writer, he is also an extremely intuitive teacher. He always seems to ask the right questions or have the right exercises that bring your story to life. After one workshop with Alan, he has me convinced that I can write. No small feat for a first time writer. If you have an idea that won’t go away then go to Alan’s workshop, you’ll be so happy you did.”
- Cheri Barstow (90-Day Novelist)
“Speaking as a bestselling author in both fiction and non-fiction, I can’t think of a better novel-writing teacher than Al Watt. Not only is he a wonderful and nurturing instructor, he’s also a terrific writer himself! How many of us have had that novel that we’ll get around to writing “someday”? But for most people someday NEVER comes — they think they need years to write it, or to quit their day job. With his revolutionary 90-DAY NOVEL CLASS, Al helps writers accomplish the miracle of getting that novel down on paper. Do yourself a favor and give yourself a gift you will always treasure. Only YOU can write that book — and Al can make it happen.”
– Marc Scott Zicree (The Twilight Zone Companion, Magic Time)
“Al Watt understands that the challenge of writing a novel is as mystical as it is technical. Balancing nuts-and-bolts instruction with calls to the writer’s unconscious mind and deepest spiritual centers, Al cajoles, prods, demands, and inspires each student to finish the first draft of his novel in 90 days no matter what. Why? Because he knows that once it is down on paper , the writer is now, for better or worse, a novelist, not merely another dreamer.”
- Allison Burnett (author of the novels Christopher and The House Beautiful)
“I’ve published two novels to some acclaim, I’ve published a book of criticism, and I have a novel coming out next summer. But I never send a work to a publisher before Alan Watt has gone through it and shown me how to make it better. He’s one of the best editors and mentors in the country. That he’s offering courses open to the public is a gift to the people of Los Angeles.”
–Eric Miles Williamson, author of East Bay Grease, Two-Up, and Oakland, Jack London, and Me, editor of American Book Review, Boulevard, and The Texas Review.
“Al is the Zen Master of storytelling! His workshop changed my life! His approach to writing is genius. He listened to me and provided insightful views into the world of my story. He helped me to bring my characters and story to life. I ‘ve been trying to write my novel for 8 years and would start and then get overwhelmed and discouraged. Al helped me overcome my fear and doubt. He created an energy vortex of creativity filled with compassion and wisdom that nurtured the storytelling process and made it fun and exciting. Oh sure at times it was scary and there were moments I thought “what the hell am I doing” but Al helped me get through the rough spots and gave me a deep understanding of the writing process and how it mirrors the life process. He taught me how to channel my resistance and drama into my story. Words just don’t do the incredibleness of Al’s workshop justice. If you are looking for help to tell your story, look no further. Al is the real deal!”
- Kristen Williams (90-Day Novelist)
Where every other fantastic writing class/workshop gave me everything but practical technique with which I could apply to my writing endeavor, Al Watt’s 90-Day Novel Workshop delivered the goods, especially for working actors with a hint that they may be a writer deep down. Al helped me discover my gift and provided me with the tools to dig it out of procrastination and to win the war of art.
- Shawn Michael Howard (actor/90-Day Novelist)
I had always dreamed of writing something close to my heart, but resistance always got the best of me. Then I met Al. The 90-Day Novel Workshop was just the intensive atmosphere that allowed me to focus on quantity and through Al’s loving, supportive and nurturing spirit, we forged ahead as he assured us that the quality would take care of itself. Working out a structure so that I could be free within that was key. Being free, in fact, is the key. There are no rules. I get to be an original. I am fully supported in a positive, loving atmosphere with like-hearted peers. There is no judgment here. I am so happy to have met Al. I must have been ready for the teacher, because he appeared and I am so grateful.
- Julie Lancaster (actress/90-Day Novelist)
Alan Watt is the teacher of teachers; authentic, a rare muse, your best enemy when you are feeling sorry for yourself, your guide through the muck of structuring your work, on the money, and last but certainly not least, spiritually evolved. Purely for selfish reasons I have mixed feelings about telling you how wonderful my experience has been in the 90-Day Novel Workshop. It is much more than a writing class. It is a gateway to artistic integrity. Enter at your own peril and glory, and shhhhhh, please don’t tell anybody.
– Deborah Grant (90-Day Novelist)
“For twelve years I struggled with writing my first novel. A friend encouraged me to sign up for the 90-Day Novel Online Workshop with Al Watt and I’m so glad I did. In 90 days I have written over 150,000 words. I feel confident and alive with my writing, and happily realized I have a fantastic trilogy instead of a single novel. Who knew? I guess Al did. Now I tell everyone about his online course. Thank you Al, you’ve genuinely changed my life.
- Eddie Conner (Radio Host/Author)
“Al Watt and his 90 day novel workshop have enabled me to FINALLY take the words I have been ‘writing’ in my head for the last 10 years and formulate them into something that actually appears to be sensible, meaningful and most of all OFF MY MIND and ON PAPER! {He is also very entertaining and an all around quality guy who wrote a f#%king amazing novel!}
- Dana Kiper
“Al Watt is brilliant. The 90-Day Novel online workshop gave me the structure, support and guidance to finish the first draft of a novel I’d been struggling with for a decade. Al’s coaching gave me tremendous insight into the story and my characters, and the confidence that I actually could finish – which I credit as a minor miracle.
-Laura Brennan (screenwriter)
“Al Watt’s 90-Day Novel Workshop is worth every hour and every penny. By asking all the right questions, Al helps his students explore the depths of the stories they were meant to write. I now have a first draft of a novel that had languished in a drawer for many years. I can’t wait for the rewrite class to begin!”
- Marcy Ayanian
“Think of Al Watt and the 90-Day Novel as your seeing-eye dog: You know where you’re going, but Al makes sure you get there.”
- Litty Matthew (journalist)
“I resisted my story for five years, with ‘good reasons’ to dodge the work. Al’s 90-Day Novel class changed that. The daily letters, stream-of-conscious writing exercises and tales of the other writers kept me focused, honest and committed. It was liberating to write without reflexive rewriting – a huge change for me! And fun to absorb the new characters who kept showing up. I surprised myself every day. Especially the day I finished. Thanks, Al!
– Peggy Mulloy
Tod Goldberg is the author of the novels Living Dead Girl (Soho Press), a finalist for the Los Angeles Times Book Prize, Fake Liar Cheat (Pocket Books/MTV), and the popular Burn Notice series, including The Fix, The End Game, The Giveaway, The Reformed and The Bad Beat (Penguin), and the short story collections Simplify (OV Books), a 2006 finalist for the SCIBA Award for Fiction and winner of he Other Voices Short Story Collection Prize and Other Resort Cities (OV Books). LA Writers Lab recently sat down with Tod and asked him a few questions.
LAWL: Can you give us a brief synopsis of Where You Lived, your new collection of short stories?
TG: It can only be brief, I’m afraid, since Where You Lived is a mini-collection – just three short stories – so if I give too much away, well, there won’t be anything left to read. The best way to describe these three stories is that they are about people trying to find their place in the world, even when the things they’ve grown accustomed to no longer seem to make much sense: a golf pro who has lost his swing and just might lose everything else; a disturbed young man who returns to his childhood home in search of what was left behind; a man haunted by the ghost of his brother and by the mistakes he’s made.
LAWL: Did you publish this book yourself? Why? (any thoughts you have on the state of publishing)
TG: I did, strictly as an e-book. I’m interested in seeing if people will actually read short stories if it’s made more convenient for them – it’s always seemed to me that short stories are the perfect slice of entertainment for things like iPhones, since the time investment needed – maybe 20 minutes per story – is just right for that sort of device. Clearly e-books are already replacing a large segment of the print market for novels and while I love literary journals, I don’t love waiting twelve months for a new short story of mine to be published when, clearly, I can publish them professionally now for Kindles and Nooks et al and get them in more hands than ever before…at least in theory. So while I’m still very much invested in traditional publishing, I’m also interested in expanding my ability to reach people with short stories in between my novels and full collections of stories. In the case of Where You Lived, the three stories are actually ones that previously appeared in literary journals – Black Clock, The Normal School and Interim – but which seemed connected to each other in interesting ways, so instead of waiting another few years to write another collection (I’ve previously published two collections of stories, Simplify and Other Resort Cities), I thought I’d package these three together now.
LAWL: Do you remember the first thing you wrote?
TG: Well, I was terribly dyslexic as a child, so what I tend to remember regarding my first attempts at writing is that it was frustrating and scary and, ultimately, pretty upsetting. The words never looked the way they were supposed to look, not even my own name. I tried to write stories all the time as a child and when I realized I was creating gibberish, I tended to take those stories and apply them to my toys, creating vast scenarios for my Army men and Star Wars action figures to act out, often silently, the stories I couldn’t put on the page.
LAWL: What does your writing day look like?
TG: Like triage.
LAWL: What’s your favorite short story of all time?
TG: Are we allowed to have ties? If so, “The Things They Carried” by Tim O’Brien, “Rock Springs” by Richard Ford and “Aftermath” by Mary Yukari Waters.
LAWL: What book is currently on your bedside table?
TG: The Outlaw Album by Daniel Woodrell. If you’re not a fan of Daniel Woodrell, you’re dead to me.
LAWL: If you could have dinner with anyone in history, who would it be?
TG: I’d like to have dinner with both of my grandfathers, when they were young men, to hear them talk again.
LAWL: What is your favorite emoticon?
TG: \m/
LAWL: What did you dress up as for Halloween?
TG: I haven’t dressed up for Halloween in a long time, but if I were single – and I’m not, but if – I’d dress up as a churro. Who doesn’t want and desire a churro? It’s the perfect Halloween costume for a single person of any sex or persuasion on the make.
LAWL: What advice would you give to an aspiring novelist?
TG: There’s no easy path, no back door, no way to break into publishing other than through talent (or, well, maybe if you slept with Madonna or killed someone or killed Madonna after you slept with her…those actions would probably get you a book deal) and iron-clad persistence. You can’t teach talent and you can’t teach will. When I was younger, I thought I deserved to be published, but that was just twentysomething hubris. What I know now is that no one deserves to be published, that the people who succeed are the ones who work for it, who spend as much time reading as they do writing, who treat their craft seriously. My other more tangible piece of advice is this: invest in a good desk chair; over spend on one if you can. It’s totally worth it.
Tod Goldberg: http://todgoldberg.typepad.com/
Al Watt appeared at BOOK SOUP in West Hollywood on October 4th, 2011 to talk about writing and to sign copies of The 90-Day Novel. Thanks to everyone who came out and showed their support!

Al at Book Soup with Amanda Michaels Zech, Trisha P and Stephen Humphries of the Fall 90-Day Novel Online Class
TEN GUIDEPOSTS TO A GOOD WRITING INSTRUCTOR
“Education is not the filling of a pail, but the lighting of a fire.”
- William Butler Yeats
Choosing a writing instructor is a big decision. Here are some guidelines and suggestions that may help you in making your decision.
1) Is the instructor qualified? Does he have what you’re seeking? One can’t teach what one doesn’t possess. Has he accomplished himself in the area that you’re seeking instruction? Don’t confuse a writing instructor with an English major. It’s one thing to quote Joyce, and another to identify with, support, and offer guidance through experience to the daily struggle of the serious working writer.
2) Is she kind? Honesty without kindness is cruelty. Of course we want our creative teachers to be straight with us, but if they can’t do it without positive reinforcement, they ought not to be teaching. Period.
3) Watch out for gurus and authorities: This is common in creative instruction. Insecure teachers often overcompensate by espousing rules and demanding that your work be done a certain way. When our creative work is judged by someone who insists on having all the answers…Run, don’t walk for the exit! One size does not fit all. There are no answers. Any instructor who confuses principles with rules is a hack.
4) Is the class tone chaotic? Rigid? Are the other students supportive, encouraging and friendly, or are they competitive and distancing? Part of the instructor’s job is to set the tone for the class. If the tone isn’t inclusive, it’s difficult to do your best work. (Some MFA programs will disagree with this assessment, as if the writer must be broken in order to triumph. That’s bullshit. Writing instruction need not be a Darwinian nightmare.)
5) Punctuality: When the instructor shows up late, it’s a bad sign. He doesn’t respect himself, and he doesn’t respect you.
6) Curiosity: There are many fundamentals to be learned, but there are no rules. If your instructor does not display an unbridled curiosity for what you’re attempting to express, she is not serving your needs.
7) Respect: An instructor’s single most important job is to teach you to trust your instincts. Our stories live fully and completely within us. When a teacher treats you with basic respect, it has a powerful effect on allowing your creative self to emerge. When a teacher is rude or dismissive, it can kill the creative channel. Along with this, your job is to discover and celebrate your voice. A teacher who encourages you to mimic the writing of another is disrespectful, and sadly all too common.
8 ) Boundaries: If you choose to leave the class, the instructor does not bully or hound you to stay. She smiles, gives you a hug and says, “Keep writing. I’m here for you if you choose to return.” Writing class is a service, not a cult.
9) Maturity: Your instructor is a grownup. He can take care of himself. In creative workshops the developing artist is going to run the gamut of emotions. It can be scary and even messy at times. The instructor is there to guide, nurture, encourage, support and cheerlead. Not the other way around! It is in the job description that the instructor do everything he or she can do to help the writer to find his voice.
Because when we truly find our voice, an instructor is someone who can…
10) …Say goodbye and send you on your way: A good instructor’s job is to make himself obsolete. You are not supposed to stay in class forever. You are supposed to find your voice and share it with the world…and if you so choose, to guide and mentor those that come after you.
A writing instructor is just that…one who instructs. She claims credit for nothing. Your work is your own. It belongs to you. Her only job is help you to become most fully the artist you were meant to be. Good luck with your search.
Until next month,
Al
Congratulations to The 90-Day Novel In-Person class (Fall 2011)! The class celebrated at PACE in Laurel Canyon on December 7, 2011 and everyone read from their manuscripts. The Lab is proud of ALL the students for their dedication and hard work over those 90 days. Great job, everyone!
Danny Schmitz
Finley Glaize
Gia Marakas
Timothy Youd
Helena Lee
Steven Weakley
Christopher Moss
Nancy Callaway
Robert Gant
Albert Owens
Deepika Daggubati
Aubrey Thorne Carey
Cynthia Bardes
Meg Brogan






