Hello everyone! Here to say thank you for all the kind words. I am very lucky I get to work with George, and be part of the Story Club community. It's the best gig. ☺️
Wow. Samantha is quite incredible. I couldn't believe that you were able to turn out so many of these wonderful pieces so quickly. I do hope I can find a good reason to contact her for something I eventually do.
I have a question: Is there any chance that you'd consider letting us see any one of your pieces both before and after it was edited? We'd all learn so much. As a musician I'd find it as interesting as looking at Beethoven's notebooks. The before and after comparisons are fascinating. Actually, it would be more accurate to describe them as thrilling.
I also have a final comment. You are very possibly my favorite living writer. I read everything of your that I can find and learn something from all of it while, at the same time, being endlessly amazed. Your comments about the Russian short stories are so enlightening. And Lincoln in the Bardo is probably the most original, beautiful, soul-touching book I've ever read. Damn. You are phenomenal.
Thank you, Stan - so generous. We did, awhile back, a session on "CommComm," in which I offered some very early drafts and then some mid-stream drafts. I think there was also something re "Offloading for Mrs Schwartz," more recently....
Yes, these two stories have been on my screen this week precisely for the quality. “Offloading for Mrs. Schwartz,” 1992, still current. (It also has 140 instances of “I” and works somehow. One of the examples of playing with a voice maybe.)
A lovely tribute, George. And I'm certain, well-deserved. I'm curious how you found Samantha, though I understand if that is going too far behind the curtain. A note to Samantha: i love the photo of you. Your positive vibe is so clear! Thanks for fixing George for us--we were all growing a bit tired of his perfection and it's nice to know even he needs a boost now and again. You are obviously a booster extraordinaire!
I note the jokey "mistakes" in the end of George's essay and in some comments, but what blows me away, throughout, is the ear, the eye of the editor. I recently had an essay in Dorothy Parker's Ashes, and the editor there was fabulous. It was a personal piece, and I did a lot of cutting for speed and voice and at the end got nervous - no one would understand it. Did it need something? What, a frame? So I wrote in a first and last paragraph - and the DPA editor made two changes - took out those two chicken paragraphs! It is the meat, not the sauce that a great editor helps with. Did I read here on Story Club that Isaac Babel was fabulous at it? Friends would give him a piece of work and zip zip, he'd go through it and what came out was the piece - but now as good as it could get. Thanks, again, George. This was lovely and encouraging.
Someone once told me that if the The New Yorker (I think it was The New Yorker) is considering publishing a submission, the editor/s often recommend simply cutting the last paragraph, or maybe two. Now I look at every piece I write through that lens.
Interesting. That would prevent the story from seeming too hardened into cement, I think, don't you? Or keep us from sticking our finger in the reader's eye? Beginnings and ends are always the hardest parts, for me. I try to start with enough info somehow to get the reader in and not too confused. And out without insulting her. I'm always interested in what readers make of those two points, and what they were expecting, and were they at all surprised at where the story went.
Me, too. It's a fun exercise, because, often, even though you aren't meaning to, you end up adding something that over-explains, or ties it into a bit of a bow, or isn't necessary, when ending earlier, might leave the story that much more powerful and intriguing. So you try cutting, and ta-da! It just feels right. (If you're lucky!)
And, on a more serious note, I really appreciated this part of the tribute to Samantha's talent and insight: "...The editor makes a new and more powerful thing out of the offered dross, and this is a form of vision, a form of seeing the best in someone, seeing a streak of something good within them of which they aren’t yet fully aware..."
I've often wondered how you do it, George. Write new work, travel to promote your work, spend time with your family, yet somehow managing to show up here faithfully twice a week, with heartfelt and generous posts that inspire everyone in Story Club. "Does the man ever sleep?" I thought. "Does he ever eat? Does he ever just hang out and relax?" It's good to know you have Samantha, and that the two of you have such an amazing symbiosis. Still, I'm blown away by how much you give here. And how much you truly care. Thank you! And thanks, Samantha, for having George's back!
Symbiosis, the very word. What's more I'm sure a writing relationship that's symbiotic in more than one plane. George cares, now we know Samantha cares and I sense they both now how much Story Clubbers' care right back with great appreciation. Thanks both.
And thanks to you Patti for genially tripping me to cast my 👍 into the cheering pot for this so big, so beautiful, curtain pull back to give us such a insightful peak on what goes on behind the scene to bring us each twice weekly SC Newsletter to centre stage for us. 🙏
What a lovely, generous, charming piece. With a bit of solid info about an editor's crucial role, which for this new writer is helpful. Congratulations, Samantha, on many jobs well done. Seems your last name is apropos of everything :)
Wonderful!! Hip hip hooray to Samantha! And thank you Samantha, these posts are so clean. George, I also loved this post because in academic writing I am often the Samantha. Feels great to have roles like Samantha’s actively recognized so as not to forget the amount of collaboration and eyes needed for successful writing--social media posts and all!
Thanks Samantha for keeping George honest :) I can't imagine what it would have been like to edit a post singing your praises, but like all the other ones it was great.
As I'm currently in the death throes of editing my first novel--which I'm about ready to burn--along with myself---somehow this post made me feel sooooooo much better! Thank you!
Four super snippets to pick and spotlight Kirstin.
Four gentle yardsticks against which writers might ourselves offer up, in the way a builder makes use of a spirit level, their works in progress to gauge the state of progress or otherwise?
Hello everyone! Here to say thank you for all the kind words. I am very lucky I get to work with George, and be part of the Story Club community. It's the best gig. ☺️
I adore Samantha! She was a student of mine, and I was elated to discover your connection. You deserve the best, George Saunders.
And I adore you, Lesley! You were (and are) a tremendous teacher.
Yes! I remember Samantha! Lovely woman & terrific writer-
Eye've wunderred meni timz how yu akomplesh so m george.
Off corse , you and Samantha are Bothe the beste and ment to bee.
Wow, that 2nd sentence sounds like Chaucer or maybe Beowulf!
No..Grendel ..I'm certain^^
consistent with my generalized feelings of regression then.
A blast to the past might be progressive considering the way things have been going.
HA!
Wow. Samantha is quite incredible. I couldn't believe that you were able to turn out so many of these wonderful pieces so quickly. I do hope I can find a good reason to contact her for something I eventually do.
I have a question: Is there any chance that you'd consider letting us see any one of your pieces both before and after it was edited? We'd all learn so much. As a musician I'd find it as interesting as looking at Beethoven's notebooks. The before and after comparisons are fascinating. Actually, it would be more accurate to describe them as thrilling.
I also have a final comment. You are very possibly my favorite living writer. I read everything of your that I can find and learn something from all of it while, at the same time, being endlessly amazed. Your comments about the Russian short stories are so enlightening. And Lincoln in the Bardo is probably the most original, beautiful, soul-touching book I've ever read. Damn. You are phenomenal.
Thank you, Stan - so generous. We did, awhile back, a session on "CommComm," in which I offered some very early drafts and then some mid-stream drafts. I think there was also something re "Offloading for Mrs Schwartz," more recently....
Ah, I will have to search for them. I'm rather new here which is why I never saw them. Thank you, George!
Yes, these two stories have been on my screen this week precisely for the quality. “Offloading for Mrs. Schwartz,” 1992, still current. (It also has 140 instances of “I” and works somehow. One of the examples of playing with a voice maybe.)
A lovely tribute, George. And I'm certain, well-deserved. I'm curious how you found Samantha, though I understand if that is going too far behind the curtain. A note to Samantha: i love the photo of you. Your positive vibe is so clear! Thanks for fixing George for us--we were all growing a bit tired of his perfection and it's nice to know even he needs a boost now and again. You are obviously a booster extraordinaire!
Thank you, Mary G. Always a big fan of your comments here, I learn a ton from your observations.
That is so nice of you! Thanks so much.
Have you considered changing Story Club to Storey Club?
Beat me to it!
Sorry, John. The early bird and all that.
I note the jokey "mistakes" in the end of George's essay and in some comments, but what blows me away, throughout, is the ear, the eye of the editor. I recently had an essay in Dorothy Parker's Ashes, and the editor there was fabulous. It was a personal piece, and I did a lot of cutting for speed and voice and at the end got nervous - no one would understand it. Did it need something? What, a frame? So I wrote in a first and last paragraph - and the DPA editor made two changes - took out those two chicken paragraphs! It is the meat, not the sauce that a great editor helps with. Did I read here on Story Club that Isaac Babel was fabulous at it? Friends would give him a piece of work and zip zip, he'd go through it and what came out was the piece - but now as good as it could get. Thanks, again, George. This was lovely and encouraging.
The meat not the sauce. Loved that!
Me, too!
Someone once told me that if the The New Yorker (I think it was The New Yorker) is considering publishing a submission, the editor/s often recommend simply cutting the last paragraph, or maybe two. Now I look at every piece I write through that lens.
Interesting. That would prevent the story from seeming too hardened into cement, I think, don't you? Or keep us from sticking our finger in the reader's eye? Beginnings and ends are always the hardest parts, for me. I try to start with enough info somehow to get the reader in and not too confused. And out without insulting her. I'm always interested in what readers make of those two points, and what they were expecting, and were they at all surprised at where the story went.
Me, too. It's a fun exercise, because, often, even though you aren't meaning to, you end up adding something that over-explains, or ties it into a bit of a bow, or isn't necessary, when ending earlier, might leave the story that much more powerful and intriguing. So you try cutting, and ta-da! It just feels right. (If you're lucky!)
I finally know the secret to a perfect working relationship. Don’t ever meet up. !
And, on a more serious note, I really appreciated this part of the tribute to Samantha's talent and insight: "...The editor makes a new and more powerful thing out of the offered dross, and this is a form of vision, a form of seeing the best in someone, seeing a streak of something good within them of which they aren’t yet fully aware..."
I've often wondered how you do it, George. Write new work, travel to promote your work, spend time with your family, yet somehow managing to show up here faithfully twice a week, with heartfelt and generous posts that inspire everyone in Story Club. "Does the man ever sleep?" I thought. "Does he ever eat? Does he ever just hang out and relax?" It's good to know you have Samantha, and that the two of you have such an amazing symbiosis. Still, I'm blown away by how much you give here. And how much you truly care. Thank you! And thanks, Samantha, for having George's back!
Amen to that Patti!
Symbiosis, the very word. What's more I'm sure a writing relationship that's symbiotic in more than one plane. George cares, now we know Samantha cares and I sense they both now how much Story Clubbers' care right back with great appreciation. Thanks both.
And thanks to you Patti for genially tripping me to cast my 👍 into the cheering pot for this so big, so beautiful, curtain pull back to give us such a insightful peak on what goes on behind the scene to bring us each twice weekly SC Newsletter to centre stage for us. 🙏
What a lovely, generous, charming piece. With a bit of solid info about an editor's crucial role, which for this new writer is helpful. Congratulations, Samantha, on many jobs well done. Seems your last name is apropos of everything :)
I'm glad we get to know about Samantha.
Thanks Samantha for all you do for us
Wonderful!! Hip hip hooray to Samantha! And thank you Samantha, these posts are so clean. George, I also loved this post because in academic writing I am often the Samantha. Feels great to have roles like Samantha’s actively recognized so as not to forget the amount of collaboration and eyes needed for successful writing--social media posts and all!
Thanks Samantha for keeping George honest :) I can't imagine what it would have been like to edit a post singing your praises, but like all the other ones it was great.
I was wondering that too. Is it harder to edit a piece somebody else has written about your talent and the effect you have had on them.
As I'm currently in the death throes of editing my first novel--which I'm about ready to burn--along with myself---somehow this post made me feel sooooooo much better! Thank you!
I bet those flames are made for worser things.
Best response ever! (Although...are we SURE?)
Hi George,
I love how you describe Samantha’s editing, especially in the following ways:
“The essence of the idea gets honored and foregrounded”
“Guiding me toward my own higher intention”
“A form of seeing the best in someone, seeing a streak of something good within them of which they aren’t yet fully aware”
“Urge me toward a slightly better (more lucid, clear) version of myself”
This is wonderful! It’s a great model for us. Don’t we all want (and need) to be seen and read this way?
And I’m also glad to find out about Samantha’s work at The Trace. Thank you!
Four super snippets to pick and spotlight Kirstin.
Four gentle yardsticks against which writers might ourselves offer up, in the way a builder makes use of a spirit level, their works in progress to gauge the state of progress or otherwise?
"A great model" indeed.
Oh good! Thank you Rob!