Mary McCall interviewed Carson Oliver, our new Woodfin Fellow in Fiction

What first drew you to writing?

I can’t really point to one moment when I was drawn into writing because I’ve wanted to be a writer for as long as I can remember. As a bouncing-of-the-walls kid growing up in Mississippi, there was no greater escape than a good book. I read in the car while waiting for food to get microwaved, at night with the lights off, squinting. But when I was a kid, for whatever reason, I cared deeply about being a famous writer. Now, I just want to write at least one novel that I can be proud of, and that I think reflects my ambitions as an artist.

What writers/artists have helped to influence your writing?

When I first started to seriously write, I was drawn to first person reliant authors who wrote in a laissez-faire style like Jack Kerouac and JD Salinger. Those authors continue to color my work in various ways, but recently, I’ve been most inspired by a more variegated pool of authors. I feel that I’m most inspired by writers that I feel have a singular aesthetic. In this category, I’d offer Zadie Smith, Mary Gaitskill, and Haruki Murakami.

What’s your writing process like?

Chaotic. I wish it wasn’t but that’s how my brain works. My best writing typically comes at 1:00 am when I wake up in a fit of inspiration. One thing I’ve been working on is evening out my creative energy and working at set times because it seems to me that writing comes a lot easier when it’s consistent. In the words of Bret Lott, “writing is 90% grunt work.”

How would you describe your writing style?

One of my classmates in the program described my style as “amphetaminic,” and I think that fits perfectly. I tend to use short sentences that come in quick bursts. However, I hate to be predictable, so I’ll also include lush, ornate passages here and there. Thematically, I think I always grapple in the some way with the prospect of living in an absurd world. Recently, I’ve been particularly fond of writing about the internet and generations of kids growing up with the internet.

What’s the most difficult part of writing?

I always have so many ideas, but at some point, you have to pick an idea and stick with it. In that way, my process is wrought with self-doubt. A part of me always wants to abandon a scene midway through because I’ll think of an idea that might be more interesting or challenging. Going back to the process question, I think that’s why I want to make my process more measured. Yes, writing is a sort of divine channeling of potent creative energies. But it’s also sitting down at your desk and putting word to page.

What’s something you are working on right now?

 I’m working on a novel called Recreation. The novel is aimed mainly at the themes I talked about in question 4. I’d add to that my interest in writing for college aged kids, smart kids, who don’t seem interested any more in reading, especially in reading literary fiction. This book is trying to make literary fiction cool again.

Carson Oliver interviewed Mary McCall, our new Woodfin Fellow in Poetry

How would you characterize your writing process?

It definitely depends on the genre or form I’m writing in, but when I’m working on poetry, I usually start with an evocative title, concept, or image that becomes the core of the poem. From there, I expand on it through form, language, and space. Once I have a solid draft, I refine it by cutting everything that feels unintentional, unnecessary, or doesn’t contribute to the piece. Afterward, I share it with friends for their thoughts, interpretations, and suggestions to ensure my intentions come across clearly and align with my goals for the work. Finally, I revise it some more and arrive at a final draft!

What’s something that drives you to write when you find writing difficult?

Inspiration! I know it sounds like a no-brainer, but it’s true! When I hit writer’s block or feel stuck I take a step back, walk away from my writing, and start my search. I’ll sift through literature, cycling through movies or TV shows, and scrolling online until I find something that just itches that impossible itch and haunts my brain in just the right way. Then, once I do, I dive into the rabbit hole and use it as inspiration for whatever I’m trying to write or writing next. This is probably why I know and obsess over a lot of niche and obscure things– but hey, if it works, it works!

When did you realize that you were officially a “poet”?

I first started writing poetry in high school, but I think it was my third year of undergrad when I officially realized I was a poet. It was around that time that my Dad died and I wasn’t exactly sure how to process it because—surprise, surprise—grief is hard, especially for a nineteen-year-old. It was also during this time that, when I took my second-ever poetry workshop, everything just clicked. Poetry quickly became my way to explore and cope with my grief and from there it evolved until I became the poet I am today.

What is a form of art besides poetry and fiction that inspires your work?

Honestly, I don’t know what art form doesn’t inspire my work. I am pretty well-rounded when it comes to the arts, and I partake in quite a few in my spare time, some even more frequently than that. I’m an avid fan of theatre, film, music, photography, and traditional art so, for me, that means most of the time my writing is inspired by whichever passion project I’m consuming or creating amidst these varying artistic forms. Usually, though I will say film and music tend to be my go-to for this.

What’s something you’re working on right now?

I’m not officially working on anything right now. I’ve just mainly been refining my poetry and playing with forms, but I had a recurring theme amongst my work lately. I’ve been a bit obsessed with Greek mythology, so I’ve been reimaging and exploring the Greek myths in my poetry which has been a really fun experiment. I already tackled three poems in this vein. The first was an epic retelling of Eurydice and Orpheus, the second was a commentary on the different tellings of Medusa in the myths, and the third was an exploration of Echo and her love for Narcissus. All three of which I loved writing so its safe to say that these are just the start of this project and endeavor.

On Thursday, October 3rd, longtime College of Charleston professor and MFA faculty member Bret Lott gave a reading from his latest book, Gather the Olives: On Food and Hope and the Holy Land (Slant Books, 2024) to a standing-room only audience at Alumni Hall/Randolph Hall.

Gather the Olives, Lott’s fifteenth book in his distinguished career, is a collection of essays that, in the words of the publisher, seeks to explore “hope and food and community and the way there can be solidarity in sharing a meal.”

Lott began by reading a short essay, “A Word,” the preface to the book, which reflects on the events of October 7^th, 2023, and their impact on the essays he’d written before those tragic events occurred. Next, he read an essay, “Cherries on the Golan,” which describes a memorable trip to Tsvat, where Lott and his fellow travelers were given a tour of a hospital near the Syrian border. The essay artfully explores the difficulties and challenges of writing creative nonfiction.

After, Lott took questions from the audience. He shared an anecdote about losing a notebook in Israel, one that had contained notes for the essays he was writing for Gather the Olives. When asked about his writing process, Lott said the best writing—the real writing—comes in solitude, when the writer is working alone, without a deadline, concerned only with getting the words right.

A book-signing and reception followed a standing ovation, a celebration of Lott’s remarkable career as a writer, teacher, and mentor at the College of Charleston.

Applications to the MFA program are now open, priority deadline 2/1/25. No GRE required.

APPLY TODAY!

We caught up with College of Charleston MFA graduate Lorne Chambers (MFA, 2023), who has recently launched the Stumphouse Writers’ Retreat in Long Creek, South Carolina.

You graduated from the MFA program in 2023. When did you get the idea for a writers’ retreat? What were you hoping to achieve?

LC: At the start of my second year of the MFA program, I applied and was lucky enough to get accepted into a writers’ residency in Eureka Springs, Arkansas. Over fall break, I spent several nights there working on what would become my thesis. I was so grateful for the opportunity to focus solely on my writing for an extended period that after graduation, I came up with the idea to create an environment that would offer other writers a similar experience to the one I had.

How did you put the Stumphouse Writers’ Retreat together? For example, how did you choose the location?

LC: Fortunately, my good friends own this wonderful campground in Long Creek, SC, at the foothills of the Blueridge Mountains. There’s a restaurant on-site and a cozy lodge with nine guest rooms that make for perfect private writing studios. My wife and I have been camping here several times over the years and fell in love with the property’s serenity and all that the area offered. The last time we were there, we pitched the idea of the Stumphouse Writers’ Retreat to our friends, and they were thrilled about the prospect of hosting writers over the course of four or five days a few times a year. Over the course of a couple of months, we worked out the logistics, and everything else fell into place.

Tell us a little bit about the retreat. Who is eligible to apply? What kind of opportunities should writers expect to find there? What is the “Stumphouse experience” like?

LC: We open the application to writers of all levels, whether they work in fiction, non-fiction, poetry, or journalism. I like to be very open about this being a “rustic writers’ retreat.” But that doesn’t mean you’re roughing it. The rooms/studios are comfortable, and the property offers many great places for writers to find inspiration. Our goal is to give folks the time and space to focus on their work by ensuring their meals are provided for and that they have everything that they may need during their stay. There are desks in each room, but we also strategically place platform workstations, which we call “writer pods,” along the creek for those who prefer to immerse themselves in nature. Because the region is so rich in history and natural beauty, we also try to schedule a few optional excursions for those who want to take a break from their writing and hike or hang out by the Chattooga River.

How do you think your time in the MFA program influenced your decisions to launch a writers’ retreat?

LC: More than anything, my time in the MFA program showed me the importance of having a writing community. I found it invaluable to have like-minded people who were supportive while also offering honest feedback. After graduation, I searched for a way to stay connected to the writing world and yearned for that kind of comradery. Creating Stumphouse Writers’ Retreat has helped me stay connected to that community, and I hope it will do the same for other writers.

Any words of advice for folks thinking about either starting a writers’ retreat or attending one?

LC: As I try to get my own writing out into the world, I’m learning the importance of making connections. It’s the same as in business, but the literary world seems so much competitive and intimidating. So, I feel like anything we can do as writers to build relationships and maybe stick a feather in our cap here and there can only help. Attending residencies and retreats is a great way to do this. Creating your own retreat is a lot of work, but if you have the time, resources, and connections, it’s also very rewarding.

Lorne Chambers is an award-winning journalist whose work has been featured in numerous publications. Based in Charleston, SC, he is the owner and editor of two community newspapers. In addition to his journalistic career, Lorne is a writer of fiction, creative nonfiction, and poetry. He holds a Bachelor of Science in Sociology and a Master of Fine Arts in Creative Writing from the College of Charleston. As the founder and Executive Director of the Stumphouse Writers Retreat, Lorne continues to nurture the creative community through curated writing retreats in Long Creek, SC.

Applications are now open for our MFA program. No GRE required. Apply today!

Congratulations to the Class of 2024 on their awards and recognitions!

Katie Chea, MFA 2024, was selected as an Outstanding Graduate Student, Graduate Certificate in Arts and Cultural Management.

Tanner Crunelle, MFA 2024, received the Excellence in Experiential Learning Award from the Graduate School.

Annie Grimes, MFA 2024, was selected as Outstanding Graduate Student, MFA Program in Creative Writing.

Hanna Reynditskiy, MFA 2024, received the AWP Intro Journals Project Prize in Fiction for her short story, “Jonquil.” The story will be published in Quarterly West.