Caroline Bock’s debut short story collection, Carry Her Home, is the winner of the 2018 Washington Writers’ Publishing House Fiction Prize and will be published this October. She is the author of the young adult novels Lie and Before My Eyes from St. Martin’s Press. Her creative nonfiction, “Buttons,” was a runner-up in the Bethesda Magazine 2018 essay contest. Her short stories have been published or are forthcoming in Akashic Books, Delmarva Review, Fiction Southeast, Gargoyle, 100 Word Story, and Vestal Review and appear in several anthologies. Currently a lecturer in the English Department at Marymount University in Arlington, Virginia, she is at work on a new novel set in 2099. She lives in Maryland. More at www.carolinebock.com.
Q: “A Life of Close Critique” takes us through a writing workshop into a paragraph packed with memories of the “fog gathering at two in the morning,” obscuring what’s sex and what’s love. So that readers can read for themselves, I’ll ask you instead about writing as part of a critique group. How does your current group operate?
I’m actually part of two critique groups. The one that I refer to in this flash fiction is my “long” critique group. I know it’s a bit ironical that I write short nonfiction about this fiction group. About five years ago, when I first moved to Maryland from Long Island, New York, I enrolled in a short story class at the Writer’s Center in Bethesda and met the core group of my critique group. We meet every four to five weeks in the evening at one of our homes, after circulating pages a week or so beforehand. We share a light dinner. We drink wine. Not too much. We are friends, but even more so, we are writers on this journey together. We often ask ourselves: Will I ever finish this story? This novel? In addition, once every four to five weeks, I meet with my flash fiction group, at lunchtime, no wine. We write up to 1,000 words, usually based on a prompt. I find that the more you write, the more you write; so, I love being part of these two groups. I completed most of the 47 short stories in my debut collection, Carry Her Home, while being part of these critique groups.
Q: That there’s at least some sort of age gap in your group seems from “A Life of Close Critique” like a strength to your group. Maybe diversity in other ways helps as well. Do you agree?
Right now we are all women in my “long” fiction critique group with an almost thirty year age gap from the youngest to the oldest. For a long time, we did have a guy in our group, and having a male point of view was invaluable. I’ve written another story about this group, “The Critique Group,” which is in my new collection, about how the pheromones in the room changed when he entered the room. Now, I understand that this is the slimmest idea of diversity. But it takes effort and luck to bring different voices together. My flash fiction group includes more diversity in terms of the race, ethnicity, and backgrounds—and I will often share the same work in both groups and see the different responses, which is extremely helpful in my revision process. I believe a literary magazine like Little Patuxtent Review does an enormous service to bring diverse voices together. As a writer, I find that one of the most important things I can do is to challenge myself to read diverse voices—and to read widely. I mean diverse authors writing in varying literary genres in order to be in touch with what is happening in the in the literary world—and in the world—now.