By Katrin Schumann
I write a lot about writers’ insecurities because for 99.9 percent of us, fear lurks behind the brave faces we put on. Depending on where we are in our careers, we may all be afraid of different types of failures, but these deep-seated anxieties rarely go away completely.
Most artists learn to live with fear—and some learn to use it to drive toward better work. I might even dare to say that if you don’t experience doubt or fear, you should be worried. Overconfidence usually doesn’t serve writers well.
By Katrin Schumann
Media marketing experts agree that maintaining a robust newsletter is one of the best ways for an author to build a core audience--a group of people who will be more interested and committed to you and your work than, say, that stranger lurking on twitter or the random people liking your Instagram shots.
GrubStreet runs on coffee, printer ink, and community. This series features just some of the Grubbies who make our community strong. In this edition, meet Kenan Orhan, a recent graduate of the Short Story Incubator. Kenan is a Turkish-American writer. His stories appear or are forthcoming in The Common, Massachusetts Review, McNeese Review, and others.
In advance of our inaugural Short Story Incubator program, instructor Ron MacLean explains what fiction writers can get out of six-months intensive study, describes his ideal Incubator student, and lays out the program's "ruthless and joyous focus on taking stories from workshop good to publishable."
Why am I drawn to scary stories? Because they're hard to write well, and challenge is always attractive to me. But also because fear is primal. Fear is part of who we are (or at least part of who I am), and I'm interested, more and more, in how people respond to what terrifies them. Psychological terror intrigues me most. I'm less interested in blood on the page than I am in perceived danger that might or might not be true