Conferences, workshops, and classes
At some point, writers face the question of whether to go to conferences, workshops, classes, and/or even a more formal course of study, such as getting an MFA.
I don't have an MFA, so I won't say anything further about that option, leaving such discussion to the people who know what they're talking about.
But I've gone to many conferences and taken many courses and attended many workshops. Some were designed for beginning writers, some for advanced writers, some for people who just thought they might someday like to write. Out of that experience, I offer some thoughts FWIW:
The benefits of taking a course or workshop or attending a conference, at any stage of a writing career, include:
Inspiration. The best thing about an activity dedicated to writing is that it nurtures and validates that spark in us. Many times I've started scribbling an idea for a new story in the middle of a writer's conference, and my idea has nothing to do with the session or what anyone there is talking about. It's as if just being in a place where writing is valued has given my Muse permission to open her workshop door and hand up a few ideas.
Practical information on craft. No matter how much I think I already know, I always pick up a couple of tips or reminders that I can use to improve my writing. One of my favorite exercises, switching POV, is something I learned in a creative-writing night class. Another technique, on checking the value of each scene in a novel, I got from a Fall Philly SCBWI conference.
Practical information on business. I learned the basics of the children's writing field first from a class, which led me to a couple of key conferences, which led me to SCBWI, which led me to a wealth of information. I've taken excellent workshops on everything from marketing to Skype to basic tax issues for the freelancer.
Socializing. Writers tend to sit behind computers for long solitary hours. It's nice to talk face to face with fellow human beings--especially those who understand the writing life.
Networking. Some people would list this first, but for me it's a side benefit and not my main purpose. I never went to conferences expecting to sign a book deal or sell my book to everyone I met. I have made professional contacts, but I find they happen naturally during casual chats between sessions, or more formally during scheduled pitch or critique sessions. I've never been one to approach an editor over a glass of wine and say, "Hey, want to hear about my manuscript?"
The downsides to workshops and conferences are few, and they can be counteracted. They mostly involve:
Bad information. On occasion, what I consider very bad advice will be handed out from behind a lectern. But one can weed out good advice from bad by getting information from many different sources, and considering the sources (Is this person actually in a position to know this stuff? Do I admire his or her writing? What kind of experience and track record does this person have? Does this person have a conflict of interest or something to gain--for example, saying that you must buy his product, or hire him, or take further classes from him?). Also, a gut check is good. (As in, "Gee, workshop presenter said I should send myself in a giant cake to the agent's office and jump out with my manuscript in hand, but that just doesn't feel right to me.")
Bad teachers. You may get a teacher who has an ax to grind, or knows nothing about the subject she's been asked to teach, or who turns out to be teaching something totally different from what you thought the course would be. If you're not getting anything out of a session, it's okay to drop the course. It's your time and money. Fortunately, I've generally been blessed with competent and gifted teachers.
Bad critiquers. I haven't experienced this firsthand, but I've heard horror stories about people getting into workshops where one or more of the participants were more interested in ripping the other writers to shreds than in offering anything constructive. I'm not talking about a tough critic who's difficult to please--such a person may offer valuable insights. I'm talking about someone who's downright abusive. A good workshop leader will instantly put a stop to this, and will enforce an air of respect--and if that doesn't happen, feel free to leave. Other unhelpful critiquers include: the person who likes everything and never offers any suggestion for change, and the person with rigid expectations who wants everyone to write in his own mold. But in any group, there are likely to be at least a few people who see where your work is going and who can offer helpful critique. If one workshop doesn't do it for you, there is bound to be another that will.
Those are some pros and cons, as I see them. Do you have any others, or stories about your experiences, to share?
I don't have an MFA, so I won't say anything further about that option, leaving such discussion to the people who know what they're talking about.
But I've gone to many conferences and taken many courses and attended many workshops. Some were designed for beginning writers, some for advanced writers, some for people who just thought they might someday like to write. Out of that experience, I offer some thoughts FWIW:
The benefits of taking a course or workshop or attending a conference, at any stage of a writing career, include:
Inspiration. The best thing about an activity dedicated to writing is that it nurtures and validates that spark in us. Many times I've started scribbling an idea for a new story in the middle of a writer's conference, and my idea has nothing to do with the session or what anyone there is talking about. It's as if just being in a place where writing is valued has given my Muse permission to open her workshop door and hand up a few ideas.
Practical information on craft. No matter how much I think I already know, I always pick up a couple of tips or reminders that I can use to improve my writing. One of my favorite exercises, switching POV, is something I learned in a creative-writing night class. Another technique, on checking the value of each scene in a novel, I got from a Fall Philly SCBWI conference.
Practical information on business. I learned the basics of the children's writing field first from a class, which led me to a couple of key conferences, which led me to SCBWI, which led me to a wealth of information. I've taken excellent workshops on everything from marketing to Skype to basic tax issues for the freelancer.
Socializing. Writers tend to sit behind computers for long solitary hours. It's nice to talk face to face with fellow human beings--especially those who understand the writing life.
Networking. Some people would list this first, but for me it's a side benefit and not my main purpose. I never went to conferences expecting to sign a book deal or sell my book to everyone I met. I have made professional contacts, but I find they happen naturally during casual chats between sessions, or more formally during scheduled pitch or critique sessions. I've never been one to approach an editor over a glass of wine and say, "Hey, want to hear about my manuscript?"
The downsides to workshops and conferences are few, and they can be counteracted. They mostly involve:
Bad information. On occasion, what I consider very bad advice will be handed out from behind a lectern. But one can weed out good advice from bad by getting information from many different sources, and considering the sources (Is this person actually in a position to know this stuff? Do I admire his or her writing? What kind of experience and track record does this person have? Does this person have a conflict of interest or something to gain--for example, saying that you must buy his product, or hire him, or take further classes from him?). Also, a gut check is good. (As in, "Gee, workshop presenter said I should send myself in a giant cake to the agent's office and jump out with my manuscript in hand, but that just doesn't feel right to me.")
Bad teachers. You may get a teacher who has an ax to grind, or knows nothing about the subject she's been asked to teach, or who turns out to be teaching something totally different from what you thought the course would be. If you're not getting anything out of a session, it's okay to drop the course. It's your time and money. Fortunately, I've generally been blessed with competent and gifted teachers.
Bad critiquers. I haven't experienced this firsthand, but I've heard horror stories about people getting into workshops where one or more of the participants were more interested in ripping the other writers to shreds than in offering anything constructive. I'm not talking about a tough critic who's difficult to please--such a person may offer valuable insights. I'm talking about someone who's downright abusive. A good workshop leader will instantly put a stop to this, and will enforce an air of respect--and if that doesn't happen, feel free to leave. Other unhelpful critiquers include: the person who likes everything and never offers any suggestion for change, and the person with rigid expectations who wants everyone to write in his own mold. But in any group, there are likely to be at least a few people who see where your work is going and who can offer helpful critique. If one workshop doesn't do it for you, there is bound to be another that will.
Those are some pros and cons, as I see them. Do you have any others, or stories about your experiences, to share?
No comments have been added yet.
