Eleventh Draft: Craft and the Writing Life from the Iowa Writers' Workshop

by Iowa Writers' Workshop

Book Overview

For The Eleventh Draft, Frank Conroy solicited essays about writing from 23 fiction writers--all of them one-time Iowa Writers' Workshop students or faculty members. "My instructions to them," says... This description may be from another edition of this product.

• Format: Hardcover
• Language: English
• ISBN: 0062736396
• ISBN13: 9780062736390
• Release Date: October 1999
• Publisher: HarperResource
• Length: 235 Pages
• Weight: 0.95 lbs.
• Dimensions: 1.1" x 5.8" x 8.6"

Customer Reviews

Fantastic Experience

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The Writing Life

I got this book because I'm a T.C. Boyle fan and wanted to know about his background. However, I find myself drawn to a very amusing piece from writer William Lashner, who vividly portrays the difference from the writer's life he expected and the one he actually lives. We meet him in his first "run" at sport fishing: "...my muscles ripping off the elbow, my feet slipping in the blood, my seasick patch shaking loose. Through it all one thought kept hammering at my skull: Hemingway was a jerk." It builds from there as he shares his path to the Iowa Writers Workshop: "So I'm sitting home, alone, watching reruns of "F-Troop," when a voice comes out of my television and asks if I'm desperate for a change. Of course I am desperate for a change. Who watching reruns of "F-Troop" isn't desperate for a change?" He takes us into his experience with the page and how it transforms over time. He discoveres that once he's abut 100 pages into writing a novel, something changes. That's when the novel's voice takes over. "I have to slog a bit, waiting for the manuscript to start whispering in my ear." "When I start, it is an act of faith, hoping it will come, not certain that it will but certain that if I don't begin it won't ever....it brings with it not merely its own voice but an entire world, the world of my fiction." Lashner had expected summers on Sidney Sheldon's yacht, great applause, cruise wear. And what he got was a relationship. "I haven't given up all aspirations to the glorious fun I had lusted for as a boy. I remember reading how Fitzgerald and Faulkner prostituted themselves to Hollywood and my first thought was, 'How about me?'" This chapter alone is worth the price of the book.

Congratulations, all of you, on your fine, fine...

A toast! Tenure all around. Bravo, marvellous. All of you--really. Really, truly marvelous. So many insights. You've got Paris on the Iowa River out there, you really do. A round table to make King Arthur proud. A real Salon--Kantian style. Brilliant, on every possible level. So true, everything was so true; and so well-said, from start to finish. Not a word out of place. Ideal. Perfection! Stupendous! I can't rave enough. Tenure for everyone! On me!

Charming

Elizabeth McCracken, Stuart Dybek, and Tom Grimes deliver the best here (in my opinion), but the other essays are worth reading. There is throughout the book a shared love of writing--even at its most frustrating and formdible. The title, The Eleventh Draft, is a gentle nudge to the rest of us that God is in the revisions; that no one--not even the best (and these writers are good)--writes easily or quickly, and that the process of writing is just as meaningful as the result (even if nobody ever sees your 11th draft but you). :-)

A Worthwhile Read for Prose Writers

A compilation of essays from former students and teachers of the prestigious Iowa Writers' Workshop, editor Frank Conroy's book The Eleventh Draft attempts to capture the essence of the writer's life. "These essays," Conroy notes in the introduction, "are written by people who struggle with both the visible and invisible realities of language every day of their lives." Consequently, authors including Stuart Dybek, Elizabeth McCracken, and Barry Hannah reflect on the unique nature of their profession. The tone varies wildly; while authors such as William Lashner and Justin Cronin write in a deeply personal manner, Scott Spencer and James Alan McPherson give more detached, less introspective observations. This variance renders some essays less affecting than others, but most are engaging, thoughtful pieces. Despite such a lofty goal this book is an overall success, a testament to Conroy's faith in his selected writers (evidenced in his "deliberately vague" instructions for each contributing author) as well as the authors' individual talents. Those looking for pragmatic tips should look elsewhere. However, prose writers seeking both inspiration and insight should find this book both valuable and enjoyable.