Giancarlo DiTrapano is editor of Tyrant Books and New York Tyrant. He has published and edited books by Atticus Lish, Marie Calloway, Scott McClanahan, Clancy Martin, Brian Evenson, Eugene Marten, Blake Butler, Michael Kimball, Sam Michel, Ken Baumann, and others. He has written for Playboy, Vice, and other outlets. He taught fiction writing and editing at Catapult. He lives in Rome.
Chelsea Hodson is the author of the essay collection Tonight I'm Someone Else, which The Washington Post called "a memorable first collection" and Kirkus Reviews called "a simultaneously bewildering and compelling body of work." She is a graduate of the MFA program at Bennington College and has been awarded fellowships from MacDowell Colony and PEN Center USA Emerging Voices. She has taught nonfiction writing at Catapult in New York and as an Alumni Teaching Fellow at Bennington College.
Both Giancarlo and Chelsea share a love for work that is unflinching, visceral, and heartbreaking—this aesthetic informs everything about the workshop, from our manuscript response letters to our in-class discussions. When a student in our first workshop asked if three rounds of edits was a good rule to use before submitting to journals, we said it should be closer to a hundred rounds of edits. We believe in the workshop as a space where a piece of writing can be sufficiently interrogated, leaving the writer encouraged and excited to get back to work on the next draft.
Chelsea Hodson is the author of the forthcoming essay collection Tonight I'm Someone Else (Henry Holt, 2018) as well as the chapbook Pity the Animal (Future Tense & Emily Books, 2014). She is a graduate of the MFA program at Bennington College, and was a PEN Center USA Emerging Voices Fellow. She is a former performance facilitator for Marina Abramovic and nonfiction instructor at Catapult and Skillshare. She lives in Brooklyn.
Lauren Cerand, publicist extraordinaire.
One more guest to be announced.
“Giancarlo DiTrapano is my idea of an independent publisher. He has a fine, idiosyncratic ear. He loves to discover new writers and loves to read what they do next. He knows how to help a writer improve. Most of all, he puts his writers first."
—Lorin Stein, editor of The Paris Review
“Chelsea Hodson’s first chapbook, Pity the Animal is bracingly good—wild and chiseled, both... Hodson’s bold experiments and assertions feel refreshing and welcome."
—Maggie Nelson, author of The Argonauts and Bluets
“As an editor, Giancarlo DiTrapano is like a good friend: there when you need him. He has an ability to listen to your words and distinguish your voice. From there he cuts away at all the defenses you've put up and lays your story so bare and vulnerable that you're no longer the writer of it so much as you are its caretaker."
—Spencer Madsen, publisher of Sorry House
“Once a year, if I'm lucky, I read a book that changes the way I approach the page. These rare books make me want to write better, fresher, and more powerfully. This year that book was Pity the Animal by Chelsea Hodson... it's an outstanding example of how far memoir and essay writing can stretch and recoil."
—Tabitha Blankenbiller, Spectrum Culture
“Giancarlo DiTrapano is the best editor around. When I think of Gian, I think of Chingachook. The Last of the Mohicans. In a literary world full of insurance salesman, it's nice to know there are a few pirates left. And he's one of them. The ship is sinking, and the water is on fire, but no one cares because Gian's there."
—Scott McClanahan, author of Hill William and Crapalachia
“Chelsea Hodson is a writer of tremendous talent... not only is Hodson a great writer, but also a fearless creator."
—Jason Diamond, Electric Literature
“A highly personable, empathetic, and thoughtful editor. Working with him is a joy."
—Marie Calloway, author of What Purpose Did I Serve in Your Life
“This was a significant life experience for me."
—Former Catapult student of Chelsea Hodson
“Giancarlo DiTrapano is one of those rare instructors with the guts to tell young writers what they need to hear. I walked in with a perfect manuscript, and walked out working on the right one."
—Matt Steady, former student of Giancarlo DiTrapano