Cut Up – A Facets of Fiction Writers Workshop,
by Mike Smith

Many of the Writing Workshops I’ve attended are based around the idea of trawling the subconscious and heaving up some piece of writing that has been snagged by whatever hook the Workshop facilitator has fashioned.
The ‘Cut Up’ session, one of the workshops that I devised for the Facets of Fiction Writers Workshop, takes a totally different approach. It’s a Writers’ Workshop, but not a workshop that aims to produce, there and then, a piece of writing.
In fact it’s based on our abilities as readers, and on the belief that as readers, we perhaps know more about stories than, as writers, we realise we do!
As the title suggests, I take a short story – working with one that’s out of copyright, and hopefully unknown to workshop members – and cut it into pieces. Usually these are paragraph sized or similar, but the theory would hold good with sentences, or even chapters if working with longer prose forms.
Splitting the workshop into groups of between two and (preferably no more than) five, each group gets a full set of the story pieces, and reconstructs it. Practice has shown that the larger the group, the more difficult the task.
Some of the things that I think we know are what beginnings and endings look like. We know too when things are being introduced for the first time, and when they are being referred to subsequently. We know who is telling a story, and who it is being told about. We might even have ideas about to whom it is being told, and from that might deduce why it is being told, and why by that particular teller, and in that particular way!
Several lessons usually come out, and I hope that such was the case with the Mary Mann (1862-1929) short story, Little Brother. Those lessons include the functions of beginnings, and the importance of endings. The malleability of ‘middles’, and the effect of changing the order that information is given to the reader.
The workshop is not a competition to see which group can rebuild the story quickest, but rather an opportunity to examine those ‘facets’ of fiction: Narrative Voice, Location in Time and Place, Ambience, Function of Beginnings, Endings, and, arguably least of all in the short story, Characters.
When it works well, and in the case of Mary Mann it seemed to, it leads to discussions on all of those facets, and more generally on the use, and misuse, of detail, and the usefulness, and otherwise, of theory itself when we confront the tricky business, not of writing a first draft, but of knowing what we have written, and whether or not it works, and if not, how we might make it! It’s a technique that can tried with almost any story, and stories being what we might think they are, will throw up the same sort of lessons, about the same facets of fiction!