Transferring experience and reviving the traditional (Maktabi) method is the salvation of today’s writing.
According to the correspondent of Iran Book News Agency (IBNA) in Yasuj, Akbar Sahraei, a writer and instructor in the field of fictional literature, in an educational workshop titled “Using Oral History and Memory in Creating Stories and Novels,” criticized the weakness of the classical educational system and the fading of the traditional (Maktabi) method in nurturing writers. He emphasized the necessity of transferring experience, self-belief among young writers, and reviving the master-apprentice (Ostād-Shāgerdi) method.
Sahraei, referring to three decades of professional activity in storytelling, said: ‘Unfortunately, some people think that the tricks of writing should not be passed on, while experience sharing is an important part of a writer’s mission. Almost all writers, after years of work, publish part of their learnings in the form of books or training courses. This transfer of experience is a duty, not something to be withheld.’
This author, referring to the effectiveness of traditional teaching methods, added: ‘In the past, the Maktabi method was common, and a master could train educated and capable individuals from a few apprentices. Today, however, the education system has become degree-oriented, and the result is that even a fourth-semester student sometimes misreads a word.’
Sahraei said: ‘Many students attend storytelling classes for years but cannot write a two-page text, which is a result of moving away from deep education and the master-apprentice relationship.’
He considered believing in oneself and one’s work as one of the most important conditions for entering the professional arena, adding: ‘If a writer doesn’t believe in himself, how can he expect people to believe him? Being bold in introducing one’s work is a professional imperative. Many great writers around the world make direct efforts for their work to be seen.’
The author of Sacred Defense works added: ‘Writing for oneself is valuable, but if you intend to publish, you must know who your audience is and which publisher works in that field. Someone writing 10 books at home but not even approaching relevant institutions or publishers will only lead to disappointment.’
He rejected a negative view of commissioned work, explaining: ‘In some areas, such as resistance literature, memoir writing, or devotional and jihadi works, commissioning is not only not bad but is part of the cultural mission.’
Sahraei in another part of his speech emphasized the importance of precise observation, using senses in narration, and extracting subjects from life and media, and provided examples of his personal experience in creating stories derived from photos and short narratives.
Referring to the book ‘The Day of Gaza Stories,’ he said: ‘Among thousands of writers, very few have written stories about important events like the Gaza war. While even a three-line story can be a window for creating a novel. You just need to observe carefully and use your senses.’
This instructor of fictional literature, referring to the success of his works in winning national awards and attracting critics’ attention, said: ‘The purpose of this session was to ‘transfer practical experiences’ to the students. If we want Iranian fictional literature in the fields of novels, memoirs, and resistance literature to progress, we must both reform teaching methods and encourage young writers to study, observe, and gain life experience.’
