I met Scott Hutchins and Octavio Solis at a writers conference in Pebble Beach, in the center of what must soon be on record as the longest summer in California’s long, hot history. Hutchins is the author of the novel A Working Theory of Love. He is a former Truman Capote fellow in the Wallace Stegner Program at Stanford University, where he currently teaches, and his work has appeared in Story Quarterly, Five Chapters, The Rumpus, the New York Times, Catamaran Literary Reader, and Esquire, among other places. And Solis is a playwright and director. His work has been mounted at many major theaters across the U.S., including the Mark Taper Forum, the Yale Repertory Theater, and the Oregon Shakespeare Festival. He is recipient of the 2014 PEN Center USA Award for Drama and is a Thornton Wilder Fellow for the MacDowell Colony. His work has been published in ZYZZYVA, most recently his story “Retablos,” which appeared in Issue No. 102.
What began as a professional engagement with both writers has blossomed into a genuine friendship. I had intended to interview each separately for ZYZZYVA, but the more I considered it, the more I thought how much more rewarding a three-way conversation might be. Over the course of several hours, we discussed the social aspects of writing, the use of lyricism (and non-lyricism), and our early teachers.
ZYZZYVA: Scott, we’ve talked before about your tenure as a Stegner Fellow at Stanford, but not much about what that actually meant to you in your development as a writer. What did you pull from that experience, and how does it show up in the work you’ve done since? Is it about technique or relationships or experiences or all of the above?
Scott Hutchins: The Stegner Fellowship was a very intense time. In my bones I was sure they had made some sort of mistake in selecting me. I struggled with a great feeling of unworthiness. It was a very congenial workshop, but I usually felt like I’d been through the ringer. Ten ferociously intelligent reads would dig into a story that I didn’t really understand myself.
Z: Did you learn a bunch of technique from those readers?
SH: I wouldn’t say I learned much technique in the Stegner. It wasn’t a craft-based program, and I already had an MFA. Tobias Wolff, one of the professors, likened the Stegner to a junior artist-in-residency. That was the feel. A deep commitment to your work, but also nearly complete independence. But I did raise the bar for myself—or began raising the bar. I finally came to understand what finished work looked like. What the process of actually finishing something felt like. I entered the Stegner hating revision and left it…maybe not liking it but having made my peace with it. Now I can barely wait to get to revision. It’s absolutely my favorite part of writing.