Confession time. As a creative writing instructor, I’m super selective about the examples I use to demonstrate craft. If I’m going to share an excerpt from another writer’s work, it can’t just be technically correct; it must make the group laugh out loud, or choke up, or sit in stunned silence while they regain their composure because the resonant ending has left them unable to speak. 

Okay, I’m describing me, but I hope I’m eliciting a similar reaction in my students. 

Which is why I was surprised a couple of weeks ago when, at the end of a story numerous workshops have found moving, one participant raised his hand and said, “I hate this story. It’s overwritten, ridiculous, and manipulative. I don’t know if this writer is a beginner or what, but it shows.”

Everyone else suddenly looked expressionless, like 30 small businesses had just closed. 

I have learned that in any group, there is likely to be a contrarian. Someone who begs to differ, who needs to disagree, just to disagree. It’s human nature. 

And I’m smiling at the one of you muttering, “No, it’s not.”

But I thought I would sound defensive if I mentioned that the writer of the sample piece had published 19 novels, 150 short stories, a multitude of them in The New Yorker, and had also won the Pen Faulkner award for Excellence in Literature. 

Twice. 

So, I asked more about the objector’s objections, and I could agree to a point. I’ve never read anything I wouldn’t have edited a little differently and said so, respectfully acquiescing to some of his criticisms. But the guy wouldn’t let it go, and I started to think, Okaaay, you are becoming a little hard to love, mister. Still, I wanted to listen more than to explain, and I recognize that “Because I said so” is an immature response in any context. 

But is it? 

I’m sharing this because everything I have learned about writing is true of life. 

Take vulnerability. In most workshops, you give everyone a copy of the story you have birthed with great effort, then listen in enforced silence as the group discusses it. The theory is you need to really absorb the criticism—not be distracted by defending the work.

It’s super fun, like being gagged and tied up while strangers abscond with your baby. 

But in a good workshop, your baby is nurtured by intelligent people who recognize her charms and offer insightful suggestions that improve her chances of survival. The instructor protects you from well-meaning participants who tend to point at you while they speak. In a great workshop, you learn that you can cut the whole first page and enter the story on fire. This kind of feedback makes you grateful you live in a democracy—groups are smart. 

But groups, like life, can also be full of overworked, tired people and one or two cranks, and the instructor may not keep people from addressing you directly, people to whom, by the rules of engagement, you are not allowed to respond. 

And in truly bad workshops, no one bothers to point out what is working in your story because they assume you already know all the good stuff, so they just get right down to pointing out all the places your story fails, like this is a moral obligation.  

Some of us have friends like this. Some of us may be friends like this. Writing and life. I keep telling you. Same-same. 

I have not tried this, but I have a theory: if you did nothing but read a story and praise what works, the writer would gradually improve through praise alone. And your kids might, and your spouse might—might get braver, take more chances, and, in feeling safe, be funnier, more insightful, and inspired. Impulsively hug you tight. Spontaneously reach for your hand in a parking lot.

My friend Margaret attended a writing retreat like this. The teacher’s instructions were simple: “Each day we’ll write stories from the heart, read them aloud, and tell each other what we love about them. No criticism and no suggestions allowed.” Margaret was a bit disappointed. With those limitations, she figured she’d just paid for a week’s change of scene, but that her writing would not improve. 

But she said later, “I was wrong about that. I learned I can write from the heart, hear good things about that effort, and be forever changed.” By nothing more than the reinforcement of the good! “I began to find my voice,” she continued. “They called me ‘a weaver,’ and they called me that again and again.” 

For some reason, I was deeply moved by this. Something about the word “weaver,” I think. About being seen over and over, which implies being witnessed by someone who stayed. 

I once had a dream in which I inexplicably and repeatedly heard the word “Rabbi”. I’m not Jewish, but I’ve learned to embrace what seems to come from nowhere. So, I explored the meaning, which in Hebrew is “teacher.” And I felt called somehow. Loved somehow. And moved by this as well. 

Years later, someone called me a healer, and it had the same effect. A stunned, “Really?” Followed by a sense of having been called by name.

Read me your story and I will tell you everything I love about it. Will you be changed?

My guess is yes. 

Writing and life. Same/same.

Our brain’s predilection for storytelling may be why, even now, every time I cross the Bay Bridge, that 4.4-mile-long arc spanning the Chesapeake, I imagine my car breaking through the safety rails, going over the side, or the pavement giving way beneath my tires. 

When the kids were little, they would voice their own ideas about surviving a plunge from the bridge and speak loudly of the brave and clever things they would do to save themselves.

My son, at age five, would escape from the car as it sank and hang onto floating debris—although he mulls over for quite a while whether he would hang onto a dead shark if it were the only thing available. 

My daughter, eight, would float on her back when tired and do the sidestroke to the nearest beach. There, she would build a small fire and arrange shells in pretty patterns. 

I remained quiet as they played this game, intent on formulating my own plan—a strategy similar to my daughter’s, amended by swimming with two awkward burdens. 

It was a silly exercise, but we seemed compelled to do it, and I found myself pinioned in the grip of my own imagination on each crossing. Could I break the windows as we sank? Get seatbelts unbuckled in time? And it was always my heart that broke instead, knowing I could not save us all. 

My son discards his shark dilemma and thinks he will meet the water in a perfect dive. But sometimes we fall too hard to be rescued, which is why I still seek a contingency plan.

It was a sweltering, humid July afternoon, and friends and I were swimming off the Magothy River’s north shore near two small landmasses —Dutch Ship Island and a smaller island, nearer to shore, we called Little Dutch. We could swim to Little Dutch, but usually skied around it instead, as it was privately owned, and we were intimidated by the fact that there was a house on it. 

This particular afternoon, we decided to ski. I can’t say for sure who was driving the Whaler, but the older, better skiers went first, kids 15, 16, and a couple of grades ahead. After refueling at Gray’s Creek, it was my turn to give it a try. 

I rose from the water on my second attempt, having only learned to ski that summer and the Whaler swung wide, out toward the island. The air that had been so oppressive on the beach was soft and sweet on the water, an offshore breeze that carried with it the smell of honeysuckle at its peak and the pungent counterpart of dried seaweed lacing the shore. I was aware of every detail: the towrope in my hands, the drone of the motor, the cliffs of Big Dutch, where shadows moved in the underbrush. 

We had circled the island once when the driver of the boat motioned toward the beach. It was clear he wanted to change course. Nervous, I knew I would have to cross the wake if he turned. He gestured again, and I suddenly saw myself as I must appear to my friends, inexpertly trailing the boat, a boring and inexpert 14-year-old. At that exact moment, the Whaler entered a tight turn.

My skis bumped over the first two ripples of wake streaming back from the stern without incident, but I was skimming over the water sideways much faster than when I had been directly behind the boat. Glancing down, I saw the river beneath my skis had become the blur of solid pavement, and I was accelerating way beyond my ability to stay upright. Doomed by my own panic, falling was as inevitable as the compulsion to touch a knife, to test the sharpness of the blade.

It was a spectacular fall, even witnessed from the beach. I slammed into the water so hard my body bounced off without breaking the surface several times, carried forward by unstoppable momentum. I knew I was hurt, but the ski belt kept me afloat in the murky river water until I was picked up, and it was several days before I saw a doctor. My injuries were minor by medical standards, healing in a few weeks, but it cost me a week in Ocean City with my best friend. 

Now, when I cross the bridge untested, I look back and see the high cliffs of Dutch Ship where the river meets the bay before the suspension cables fade like Camelot in the haze behind me. The cars streaming over it, briefly visible in the back window, look like the die-cast matchbox variety I tossed into the toybox in the years I made myself prepare for the worst possible loss. In the years I believed in contingency plans.

No one is dependent on me now. I take quick glimpses at the massive, sparkling expanse beneath me. At the I glory, the immensity of all that water and all that sky. At the grandeur that whispers surely there is something more.

I decide that just for today, I will trust that if the bridge ever collapses, I will be caught, carried, and delivered safely to the opposite shore. 

Laura J. Oliver is an award-winning developmental book editor and writing coach, who has taught writing at the University of Maryland and St. John’s College. She is the author of The Story Within (Penguin Random House). Co-creator of The Writing Intensive at St. John’s College, she is the recipient of a Maryland State Arts Council Individual Artist Award in Fiction, an Anne Arundel County Arts Council Literary Arts Award winner, a two-time Glimmer Train Short Fiction finalist, and her work has been nominated for a Pushcart Prize. Her website can be found here.

As you read this, Grandme is a memory, relationships have come and gone, children have left home. 

As you read this, only the feeling that existed in this time and place lives on, but it is proof that what people most remember about us is not what we did or said, but how we made them feel.  

Walnut leaves fall like golden rain this long-ago autumn as we make the 7 ½ hour drive to the southern mill town of Asheboro, North Carolina, to visit the children’s great-grandmother. We go to escape our daily schedules, to be spoiled with attention and shown off to neighbors, for in this world we are still children, though we have children of our own. We have been coming since we were in college, before we had made a family. Now, we make this trip on borrowed time. Grandme will be 88 in the spring. 

When we turn down the long, hilly road leading to Grandme’s brick house, it beckons from the top of the rise like a lantern in the twilight. Autumn is as gentle here as the retired millworkers and Sunday School teachers who reside in this tight-knit community. Even in the balmy November dusk, we can see blue morning glories, tightly closed, clinging to the lamppost as we pull the car into the drive and emerge stiff with travel. Pale yellow roses placed about the house in honor of our arrival greet us in the parlor. A single perfect bud bows from a slender vase on the linoleum kitchen table, where we gather to recount tales of the trip south while the children scamper about in search of “Boy.”

Boy is Grandme’s 17-year-old, black-as-carbon, cat. His formal name is Booger-Boy… a fact we conceal from the children because they would love it too much. No one knows why Boy is peculiar, but his intense paranoia is generally accepted as the infirmity of any aging relative. He jumps at the slightest sound, won’t be held, and spends an inordinate amount of time hiding in the basement, coming and going unobtrusively by a cat door.

A squeal, a thud, and running feet tell us there has been a sighting, and we relax, knowing the children will be occupied for a while.

Grandme stands at the kitchen counter pulling out Tupperware containers full of homemade baked goods of every kind. She stands very erect, and her grey hair is swept upward, adding several inches to her stature. Behind her, the paned window has been polished crystal clear, and on the pristine, white-painted sill, African violets bloom in pink profusion.

Grandme is the first to begin the ritual storytelling as we sample coconut cake, then a cherry pie. The entire town knows when Grandme’s “kids” are coming, and in southern tradition, they all pitch in to help with the food. Grandme lets us assume she has made all these delicacies, and we don’t ask for recipes. 

The week before our arrival, she begins, she came home from shopping, fed Boy, and began to sense another presence in the house. She called her next-door neighbor Lucy.

“Lucy?” she whispered. “Hey, honey, it’s me. Listen, I think there’s somebody in my house.”

The two women, neighbors for 60 years, who routinely scare each other with arrest accounts from the Courier-Tribune, armed themselves with kitchen utensils and began their search. 

Boy, slinking around with them, appeared under beds, in closets, and on clothes chests, his green eyes wild and gleaming when confronted by the flashlight. 

At last, the intruder was identified. An opossum, sound asleep under an upstairs sofa, had found the cat door convenient access to a good night’s rest. Boy, eyes bulging at the discovery, dissolved into the night like spilled ink. 

We laugh at the story and refill our coffee cups; thick, rounded porcelain mugs you’d find in a small-town diner. 

The children, exhausted, climb the stairs to bed and we adults settle down to gossip late into the night about all the aunts, sisters, brothers, and cousins not present. We can do this, of course, because we are family, and it is assumed we love each other unconditionally, if imperfectly. So, we gasp over Marcia’s affair, shake our heads woefully at Uncle Joe’s beer consumption, and discuss with genuine interest distant relations we will never meet. 

Although these are not my blood relatives, they are my children’s, and by association, I can gasp and gossip with the rest of them. After all, we are a clan, kinfolk, a tribe. With that thought, I glance around at the photographs on the TV, the scrawled cards from the great-grandchildren on the refrigerator, and know that we each make this trip for a different reason, take home a different experience.

The children are compiling memories of a great-grandmother they will not always have. Their father is fondly reliving summer memories of his youth, and I am being healed. 

My own family had little of this comfortable unity. My mother retained custody of my two older sisters and me, but we were no longer a family of five. We were Virginia and the girls. Divorce took more than a parent; it took our familyness, 

When love has gone haywire in the past, it becomes even more important to create families of our own–a place where we can satisfy our innate need to belong to someone. That acceptance, wherever we can find it, is the healing and magnification of the human heart. It is through this experience in my own life that I have come to recognize a larger and larger group as family. 

Even now, when a writer whose manuscript I’m working on complains about the state of publishing today, I nod with split attention, remembering that tonight, my family is going to enjoy homemade vegetable soup with crusty herb bread and Irish butter by the fire. Joy that is pure and simple gratitude wells up and spills over. I am spirit-rich. I am generous. I feel a connection to people I have not met, and I know it is real, though it is beyond my understanding. My family becomes the family of man, including this writer and his anxieties. 

It is late when we rise to wash our coffee cups at the porcelain sink. The darkness outside has turned the kitchen window into a mirror, and our reflections break and mingle in the small panes.

We call the cat inside softly and prepare for bed. By midnight, the house is finally silent, and we whisper our goodnights to Grandme from the quilted four-poster bed in the guestroom. 

But I am not a guest. Nor are you. We are simply family that has yet to meet.

Happy Thanksgiving, beloveds. Happy Thanksgiving. 

Laura J. Oliver is an award-winning developmental book editor and writing coach, who has taught writing at the University of Maryland and St. John’s College. She is the author of The Story Within (Penguin Random House). Co-creator of The Writing Intensive at St. John’s College, she is the recipient of a Maryland State Arts Council Individual Artist Award in Fiction, an Anne Arundel County Arts Council Literary Arts Award winner, a two-time Glimmer Train Short Fiction finalist, and her work has been nominated for a Pushcart Prize. Her website can be found here.