Just so you know: Naomi Jackson is totally worth 40 Hrs on a Megabus

Royalty with her constituents.

I recently completed my four in-house Master Fiction classes with Naomi Jackson at Catapult in NYC (with two more to go remotely). This required that I board a Megabus in my small central Pennsylvania town on Thursday morning, careen across the pasture lands for 5 hours, plus at least an hour of stop-and-go New Jersey traffic and Lincoln Tunnel nausea, rush down Fashion Ave. to our class at 7pm, eat dinner with friends, sleep, and then board another Megabus Friday morning for the reverse journey back home.

All in all, I spent 40 hours (at least) in travel time for only 8 hours of actual class.

And you know what? It was totally worth it.

Why? Because of Naomi. Because of my classmates. Because of Catapult.

As a writer whose professional training is in another field (in my case, development psychology), I find that professional writers whose training encompasses years of building their craft in intensive programs (Naomi went to Iowa) simply view words, language, and narrative differently. Taking a class with Naomi allowed me to benefit from her capacity to take a piece and distill it down to its essential components. I work-shopped two short stories that I knew were strong, but just not fully realized yet. Naomi’s feedback revealed to me what was missing–elements that I would not have discovered on my own.

The best way I can describe this process is that Naomi’s perspective is like an x-ray of an entire work–she sees not just the flesh, but the bones of a story or novel, and that also means she can see what doesn’t belong, what has ruptured in the narrative, which characters or themes are too porous or weak. It’s a skill built from years of training and careful observation of the written word, and there is absolutely no shortcut to this endpoint. She has earned this skill, and her students can only benefit from it. I certainly did.

Notes and notes and notes…
Another important tool was the way Naomi constructed the feedback portions of the course. We each read the submitted pieces, brought detailed notes and a written letter for our fellow classmate, and then discussed the piece in our group class, but the discussions followed their own important narrative arc.

Naomi insisted we begin with Aboutness–What did we feel the piece was about? This allowed the author to see whether the themes they  thought they’d captured were actually realized in the reader’s experience with the work.
Secondly, we provided Warm feedback. What is working in the piece? What are its strengths.

Only then did we head into Cool feedback, describing to the author what we felt could be improved upon.

I know many writers, myself included, have felt gutted by workshops, where classmates take critique opportunities as a venue to attack another writer in order to make themselves appear more intelligent or talented to the instructor. Naomi does not allow this to happen, partly through the structure she institutes and partly through the atmosphere of respect and constructive discourse she embodies in her own feedback.


In other words, taking a workshop with Naomi will make you a better writer, but it also won’t make you cry, question your existence, or imagine writing angry e-mails to each of your fellow students.

Which brings me to my fellow classmates, who are all incredibly talented, generous, and people I now call my friends. A group is only as strong as its components, and alongside Naomi’s skillful leadership I am certain the time and attention each of my classmates gave to my work has helped me grow further as a writer. I also thoroughly enjoyed reading their work, and cannot wait to hold published books and stories in my hand, as I am sure I will have a chance to do for each of them in the near future.

I cannot recommend Naomi’s class enough–and I hope you get the chance I did to work with her. You’ll be a better writer for it, and isn’t that what we all want to become?

Visualizing Your Success: Visual Aids for Improving Your Novel

Sometimes a good cup of coffee is a visual aid, in and of itself. . .
Sometimes a good cup of coffee is a visual aid, in and of itself. . .

If you’ve written your novel, received feedback, and are now in the deep trenches of editing to address the lingering issues in plot, tone, and character development (which all of us inevitably have), you might find yourself at a loss for where to begin.  Luckily, there are a variety of effective tools available to writers, some available through digital advances and others based on traditional pen-and-paper approaches.  A few to check out (and some that I am using myself):

1) Scrivener is a project management tool that allows you to visualize your plot, splice your prose into sections that need to be viewed together, and embed and easily access background information and relevant research.  At $40, it’s a very reasonable investment to help streamline your writing/editing process.  .

2) Check out Justine Larbalestier’s use of spreadsheets (i.e., Excel) to map out her characters and plot.  Genius!

3) Writers Helping Writers offers a lengthy list of tools available for free download, spanning from Character Pyramids and Personality Questionnaires to a Weak Verb Converter.

4) Looking for apps to help you along the way?  Check out these 10 identified by Brit +Co.  Some of them are only available for Apple products, but all of them offer support for the aspiring (or accomplished) writer.

5) Lastly, many other bloggers have created compendiums of writing tools on their sites.  One of my favorites is Scott Westerfield’s, which offers several links to writing aids shared by published authors on their blogs.

Editing may not be “fun”, but it’s often what separates writers and authors.