Guest Blogger, Kelly Jarosz: Writing Workshops

It’s time for another guest blog!

Today’s guest blogger is Kelly Jarosz. Kelly and I met at the Paris Writers Workshop last June. I asked her to do a post on writing/writers workshops since she has attended quite a few and also organizes her own.

Meet Kelly…

Kelly Jarosz is a published academic writer and award-winning communications consultant who started writing creatively after moving to Switzerland in 2009. She is co-founder of the Zurich Writers Workshop and will co-teach ‘writing boot camp’ this autumn as part of WriteCon Zurich. These days you can find her in one of Zurich’s many cafes, working on a novel.

In 2010, two other American writers and I decided to stop complaining about the lack of English-language writing instruction in Zurich and create our own workshop. Since then, I’ve attended several writing conferences and organized a few myself.

An ongoing challenge for organizers is providing valuable instruction and inspiration for writers at all experience levels. The challenge for participants lies in finding the right event so the topics aren’t overwhelming or yawn-inducing. Here’s my breakdown of the typical kinds of writing workshops, and which writers would benefit most from each. Keep in mind that many writing events offer a mix of these types.

1) You’re just starting out in creative writing. Maybe you’re already a technical writer or journalist and want to expand your writing abilities. Or maybe you’ve always dabbled in creative writing for yourself and wonder if you could write something other people would enjoy.

A conference with a variety of short sessions is for you. The program will offer a combination of panel discussions, question-and-answer sessions, and workshops. The sessions will have names like, “Writing For Magazines,” or “Finding your Story,” and many will focus on how to generate ideas, from playing language games to mining your own life for literary gold. Also common are sessions about building sustainable writing habits, which is often the biggest obstacle for new writers.

These conferences are great if you have the passion for writing but are unsure whether you prefer fiction or non-fiction, or if you need a boost to get started. You should leave the conference inspired and motivated, with at least a few ideas to develop.

Example: Northwestern University’s Summer Writer’s Conference

2)  You’ve dedicated some time to learning the basics of the writing craft. Maybe you’ve started working out ideas for a story or personal essay on paper. Maybe you even have a draft, but you don’t know how to shape it into something great.

The second kind of workshop often is set up like the first, with a variety of short sessions, but they’re focused on specific aspects of the writing craft, like, “Bringing your Characters to Life,” “Writing Realistic Dialogue,” or “Point of View: Whose Story is It?”. Other times, this type of workshop is led by one instructor, who covers a variety of topics with one group of participants.

Reading examples as a group shows how an aspect of the craft plays out in published works, and in-session exercises provide techniques for developing it in your own writing. You should come away from this workshop ready to delve into learning the craft more deeply on your own and with ideas of how to develop the craft in your own work.

Example: Geneva Writers’ Group conference, Zurich Writers Workshop 2012

3) You’ve dedicated serious time to studying the writing craft, and you’re actively working on a big project: a novel, a memoir, short stories, personal essays. You’re familiar with the vocabulary of writing, and you have a good sense of what should and should not be in your piece. What you don’t know is whether readers understand the story on the page in the way you understand it in your head. You’re ready for a critque-focused workshop.

These workshops require participants to submit a 10-20 page excerpt of their work a month or so ahead of time. The majority of the workshop is dedicated to group discussion of each participant’s piece, often led by an award-winning author. This kind of workshop demands much more time from participants to prepare their own pieces and thoughtful feedback on others’ pieces.

The focused feedback received in these workshops can be invaluable for writers who need fresh sets of eyes on their work after toiling away for so long on it alone. You should leave with a list of specific revisions to be made in your piece and, best of all, an understanding of your piece’s strengths. If you especially appreciated a participant’s feedback, this is your opportunity to invite her to continue working together as critique partners after the workshop ends.

Examples: Paris Writers Workshop, ZWW 2011

Before signing up for a writing event, think about what you expect to be able to do afterwards. Then carefully read the description of the event and its sessions to see if it matches up with your expectations. Feel free to contact the workshop organizers to determine whether they offer what you’re looking for. If not, tell them. It’s likely that they’ll keep your needs in mind for future events.

Whatever your current writing needs, there’s a workshop out there for you. And if there isn’t one nearby, consider organizing one yourself!


Thank you for the helpful tips, Kelly!


Guest Blog: Writers Workshops

Hi writers. It’s been a while since I’ve had a Guest Blogger, so I thought I’d ask a new friend and fellow-blogger who I met at the Paris Writers Workshop, to do me the favor of writing a guest post. I immediately thought of the wonderful, Kristen Coros.

Our topic for this guest post will be: Writers Workshops.

Ladies and gentlemen, here is, Kristen Coros…

Three Arguments for the Writers Workshop

by Kristen Coros (

Intro: I am a Canadian blogger and aspiring fiction writer currently living in Zürich, Switzerland. I met Corey at the Paris Writers Workshop in June, and I’m honoured that she asked me to provide a guest post for her blog. Below, I’ll give my take on why writing workshops are worth attending.

Writing fiction is a funny thing. It requires you to sit alone in front of your computer for hours on end, inventing people, events, and conversations. There comes a time when you say to yourself, “Well, it all seems clear to me, but will a reader understand it the way I want them to? Do my characters behave/seem like real people? Will someone reading this find it plausible that they would say this or do that?”

This is when you need to get feedback on your writing. You might find, however, that if you offer your writing to your friends and relatives, you’ll receive comments that are either a) unfailingly supportive, along the lines of “I just think this is the best thing I’ve ever read, honey!” (note: spouses are especially prone to this type of feedback); or b) critical but not constructive (“I didn’t like this part, but I can’t really say why.”)

You need other writers to read your work, writers who have struggled with and thought about the same issues of narration, plot, dialogue, and characterization with which you are now grappling. And while you might be able to find fellow solitary key-peckers in your area who are willing to meet and swap work on a regular basis, I would argue that additional benefits are accrued from attending a writer’s workshop. As a three-time veteran of Zürich Writers Workshop weekend events and a recent attendee at the weeklong Paris Writers Workshop, I’ve observed the following three benefits of these organized events.

The presence of a leader. Critique groups can sometimes be overly informal, devolving into too much chatting, joking, or complaining, and not enough productive discussion. In a workshop setting, a leader – typically a writer who has been published to some acclaim – acts as a facilitator to keep things focused and to ensure that there is equal time for everyone’s work to be discussed. They can also help to interpret the feedback being given. While my piece was being discussed at the first workshop I attended, a fellow participant looked at me and said, “Your underwear is showing in this piece.” It was an essentially useless (and potentially hurtful) remark before our leader was able to draw out and rephrase its meaning.

Equal footing for the participants. In a workshop, it’s typically the case that every attendee must submit the same amount of writing beforehand (at events I’ve attended, the amount has ranged from two to twenty pages). The leader does not submit anything, but their work is available for scrutiny at your local bookstore. It helps to have everyone in the same boat, as opposed to informal groups where some people may be frequently submitting and others hardly ever. When everyone is equally invested and vulnerable, each member of the group will be more likely to deliver what they themselves are seeking – honest, helpful feedback delivered in as kind a manner as possible.

Chances to meet people you wouldn’t otherwise. The workshops I’ve attended have introduced me to a wonderful and geographically diverse set of like-minded writerly people (such as the lovely Corey!), many of whom I’ve kept in touch with afterwards. As noted above, being a writer can feel very isolating, so workshops can offer a great sense of your community and networks growing.

After having sung these praises of the workshop, I will note, in closing, that there is a time to workshop, and a time to head back to your desk alone. To paraphrase Stephen King, whose memoir/instructional book On Writing I love abidingly, writing itself needs to be done in solitude, with the “door closed” and only your own voice in mind. So after our wonderful week in Paris, it’s time for me to cloister away again.


Thank you so much, Kristen. 🙂

To check out Kristen’s blog, please go to: