by Writing Workshops Staff
A month ago
Michelle Kicherer is a dedicated mentor and creative force, and we are excited to offer her upcoming 9-Month Program for Intermediate Writers of Memoir & Autofiction.
Michelle’s program, an innovative alternative to the traditional MFA, offers opportunities for writers to explore the multifaceted nature of their narratives. With her expert guidance, participants will learn to weave humor, metaphor, and touches of the surreal into their work, tackling hard topics with a fresh and compelling approach. This course promises not only to enhance the plot and aboutness of their stories but also to provide a supportive community and invaluable industry insights.
Guest appearances from Tessa Fontaine, Susan Ito, and Diane Goettel, among others, add a layer of depth and diversity to the program, ensuring that each writer receives a well-rounded and enriching experience. Michelle’s own impressive body of work underscores her expertise and passion for the craft.
We put together an interview with Michelle so that you can learn more about her innovative teaching methods, the unique curriculum of her program, and the profound impact she hopes to have on her students' writing journeys.
Writing Workshops: What inspired you to create this 9-month intensive program, and how does it differ from traditional MFA programs in terms of structure and content?
Michelle Kicherer: One of my first classes in grad school was a fiction craft class, where we’d do a deep read on a novel or story collection then talk about the craft of how the thing was put together. It was helpful, but it seemed to assume that we all knew a lot more about craft when we started the program; a lot of people (me included!!) were afraid to ask really basic questions – questions that are actually monumental in understanding how to structure a story. I want writers to be able to ask anything, about the work we read and their own.
So many writers I’ve worked with talk about how they wish they understood a little more about the publishing industry and how to “make it” as a writer, so that’s a big part of this program, too.
Finally, I love the idea of the same group of 9 writers working together the whole time, reviewing the same material and writing assignments, versus shifting workshop groups throughout a year or two. It really helps when each peer is intimately familiar with your work, and when we all know each other long enough to feel safe to share, edit, etc.
Writing Workshops: Levity is a central theme in this program, especially in dealing with hard topics. Can you elaborate on how incorporating elements like humor, weirdness, and surrealism can enhance storytelling in memoir and autofiction?
Michelle Kicherer: Yes! Using something like weird characters (sometimes, that’s yourself) or surreal elements to craft a story that involves a difficult incident or theme in the story kind of offers a hand to your reader, brings them in and walks them through the story with you. It’s kind of like saying, don’t worry, it’s not all bad. Humor in particular adds so much balance to a story, whether its in the phrasing (I’m thinking Mary Karr here), or in the set up.
In Percival Everett’s novel Dr. No, the protagonist, Dr. Wala Kitu, has a one-legged bulldog named Trigo who is often pooping, and who serves as a conduit for Wala Kitu’s dreams. Even when racist cops are being horrendous to our narrator, and during other moments of danger, we can picture that image of a one-legged bull dog pooping out of the baby carrier on a man’s chest, and be amused by its ridiculousness.
Even some of the hardest stories I’ve read have some element of levity to keep me reading and to keep the story balanced. Especially with memoir and autofiction – we want to see all those little moments of levity that pop up throughout a narrator’s life. It can be something as simple as the narrator, who, let’s say, is in the middle of a very sad day, notices a little kid in a tutu twirling around in front of the library. Pointing out small moments like that can make these stories exciting and kind of magical.
That was a really long answer to your question, sorry, I just got so excited. This is my favorite topic!
Writing Workshops: With a roster of impressive guest faculty, including notable authors and industry professionals, how do their contributions enrich the learning experience for participants in your program?
Michelle Kicherer: It is just so helpful to hear the stories of other writers’ journeys, whether it’s the actual writing process and origin story of the book, or some particulars around publishing. There are so many topics that we don’t go into much in grad school, like indie pubs vs traditional presses or “big five” presses; when (and how?!) to get an agent, and what can help you get there. Or heck, being able to talk to media people about how to potentially get coverage? That’s amazing! Or how/why/when to set up a blog or something?
So, it’s really awesome to have access to these folks and get to ask candid questions in an intimate space.
Writing Workshops: One of the program's goals is to help writers understand their story’s plot and 'aboutness.' Can you explain what 'aboutness' means and why it is crucial for memoir and autofiction writers to grasp this concept?
Michelle Kicherer: Yes, totally. I always say there are two thrulines in a story: plot (what happens that we can see on the page) and the aboutness. Aboutness (I might have coined this term in the literary world? Maybe not) refers to the emotional journey a narrator/characters go through, as well as the story’s themes and deeper meanings.
Sometimes we don’t know the aboutness of a story when we start it – all we know is that we’re interested in some topic or idea and want to write about it. Maybe it’s, my year living in Iceland. Great! So you write all about that year, everything that happened, whatever the story is. Then we look a little deeper and go okay, what were you going through, though? Before and during this trip. How did your previous you inform how you respond to Iceland once you’re there? There’s always more to a story than the surface level, and we’ll just keep excavating til we find it, then hone in on those aboutnesses.
An example I use a lot is Mary Karr’s Lit. That book is about a writer’s journey to becoming a writer while struggling with alcoholism, and ultimately, working an AA program and getting sober. So we look at all the scenes in that memoir and consider how they speak to the book’s two aboutnesses: alcoholism/recover (primary) and a writer’s journey (secondary), and how those two aboutnesses interact and inform each other and how do they shift as the story goes on.
Writing Workshops: Feedback is a significant component of your program. Could you describe the types of feedback participants can expect and how it helps them refine their manuscripts?
Michelle Kicherer: Yes totally. We’ll be doing a lot of workshops where we offer written feedback, as well as what I call verbal workshops: talking through certain aspects of the story you’re working on (it’s like, group book therapy where your book gets to be at the center). Being able to provide the right kind of feedback is crucial to a story’s development, and to the writer’s mental well being. I never want any writer in my workshops to feel stupid or condescended in a workshop, so I often say we don’t offer suggestions on work (“should” is a banned word) but we ask a lot of questions.
My workshops focus on three key types of feedback:
- What worked well
- What moments confused us or gave us a question
- “Accordion moments”: parts that could be expanded or contracted
As the course goes on we’ll also pull back and look at your plot as a whole, so we’re sure to provide feedback that is helpful to the overall growth of the book, rather than always focusing just on scenes.
Writing Workshops: The program also aims to provide writers with a clearer understanding of the publishing industry. What specific insights and practical knowledge will participants gain about publishing, and how will this prepare them for the next steps in their writing careers?
Michelle Kicherer: I get asked about agents a lot: how do I get one? Do I need one? What do they do? Where’s the best way to find one? Same goes for looking for publicists or doing marketing: a lot of writers don’t realize how much of your own marketing goes into getting a book into the world (even if you have a traditional publisher who handles a lot of the marketing for you). There is just so much to think about, so I find it really helpful to bring in other professionals in the industry who can answer really specific logistical questions and offer advice.
Sometimes we speak in these broad terms, rather than breaking down all the steps and answering industry questions candidly. I’m bringing in a lot of folks I’ve worked with in media and publishing over the years who are super kind and helpful. It’ll be cool to spotlight what they do and to offer space for people to ask questions!
Writing Workshops: Creating a supportive community of writers is one of the program’s objectives. How do you foster this sense of community, and why is it important for writers, especially those tackling difficult subjects?
Michelle Kicherer: Feeling safe in a classroom is so crucial. My teaching motto is: there is no such thing as a stupid question, only a pretentious instructor. I try to bleed that motto throughout how we do things in my classes. I’d hate for anyone to feel shut down by another writer, or to feel less-than in some way. It can be surprisingly easy to do, just by the way we ask questions or give feedback.
For example, say a narrator went through a traumatic event. Rather than, “Why wouldn’t she just tell her parents?” we might say, “I wanted to know more about why she wouldn’t tell her parents, and why that didn’t feel like an option for her.” The first question feels judgemental, and implies you think that was lame/stupid/wrong for the narrator to not tell her parents about whatever happened. It also is projecting some of your own experience onto the person to whom you’re asking the question (i.e.; you had a good relationship with your parents and it was easy–or at least doable– to talk to them about your problems)
That second option is phrased with grace and curiosity. It offers some understanding that, for some (often complicated) reason, our narrator was not able to talk with her parents about this event. Our goal as feedback givers is not to talk to the person and directly question why did you do this?! but to talk to the writing itself. We want to focus on the craft of the thing so we’re clear on the writer’s intent. (and so the writer can start to get more clear on her intent, too; often in early stages/drafts we’re not super clear ourselves).
Constructive feedback is certainly an art! When done well it can be life changing.
Writing Workshops: For writers considering applying to the IndieMFA program, what advice would you give them to make the most out of this unique opportunity, and what can they expect to achieve by the end of the nine months?
Michelle Kicherer: I think coming in with an open mind and knowing that your work does not have to be perfect (and actually, with the assumption that it’s not and has a long way to go!) This program will be most helpful for those in the mid stages of memoir or autofiction – maybe you have some chapters, outlines, a lot of notes, some pages, but you’re still figuring out the structure, the themes, etc.
To make the most out of this program, just be sure to make time to read and write during out time together. It’s amazing how much you can do in 9 months. Whether your goal is to finish your manuscript by the end of the program, or to get five chapters written or ten vignettes, I’m gonna push to make that happen for you and work to provide the best feedback you can get, but you’re the writer and ultimately the one who’s gotta put your arse in the seat and do the writing.
My goal is to put together a cohort of folks who will work well together and help each other all make the most out of this program. Super excited to meet folks and I’m excited to see the applications coming in!!
*****
Michelle's 9-Month Program for Intermediate Writers of Memoir & Autofiction is a unique and transformative opportunity for writers seeking to hone their craft and explore the depths of their personal narratives.
With Michelle's expert mentorship, the rich insights from guest faculty, and a supportive community of peers, this program promises to elevate your writing to new heights.
Don't miss your chance to be part of this remarkable journey. Apply now to secure your spot and embark on a creative adventure that will shape your storytelling for years to come.
