CRWR

It’s long been said that there are no new stories, only new ways of telling old ones, but how do writers reengage familiar genres, plots, and themes without being redundant? This course will confront the literary cliché at all levels, from the trappings of genre to predictable turns of plot to the subtly undermining forces of mundane language. We will consider not only how stories can fall victim to cliché but also how they may benefit from calling on recognizable content for the sake of efficiency, familiarity, or homage. Through an array of readings that represent unique concepts and styles as well as more conventional narratives we will examine how published writers embrace or subvert cliché through story craft. Meanwhile, student fiction will be discussed throughout the term in a supportive workshop atmosphere that will aim not to expose clichés in peer work, but to consider how an author can find balance—between the familiar and the unfamiliar, between the predictable and the unpredictable—in order to maximize a story’s effect. Students will submit two stories to workshop and will be asked to write critiques of all peer work.

In this workshop based course we'll investigate how strangeness and magic function in short fiction. We'll read stories by authors like Kelly Link, Carmen Maria Machado, and Alice Sola Kim, examining how these writers portray the fantastical and impossible. We'll explore concepts like defamiliarization, versimilitude, and the uncanny. We will contemplate how magical realism and surrealism differ from sci-fi and fantasy genre writing, and ask how we, as writers, can make the quotidian seem extraordinary and the improbable seem inevitable, and to what end? Students will complete several short creative exercises and workshop one story that utilizes magic or strange effects. Students will also be expected to write thoughtful, constructive critiques of peer work. Throughout the course, we'll consider how the expectations of literary fiction might constrain such narratives, and we can engage with and transcend these archetypes. 

While aspiring writers usually grasp quickly how to write direct dialog—we hear it all around us, in public and private spaces—narration is a trickier enterprise. In this writing workshop, we will look at the narrator as personality, a voice that exists to tell the story, but not always to enter it. The narrator can be a constant, like an elbow in the side, or effaced, touching down to only give us the basics of time and place. They can be all knowing, summarizing scenes, people and events from a distant, God-like vantage, or reportorial, speaking in present tense as events unfurl. Some narrators make us laugh but are conning us with their charm; others explain the psychology of events like a great therapist or moralize like a member of the clergy. We will read a wide range of examples from writers like Edward P. Jones, Anton Chekhov, Salman Rushdie, Amy Hempel, Yiyun Li, and Louise Erdrich. Students will be encouraged to experiment in both writing exercises and story revisions. By the end of the course, you will have generated significant raw material and workshopped one story, which you will revise for the final.

"At certain moments," writes Italo Calvino of his early literary efforts, "I felt that the entire world was turning into stone."  Slowness and speed govern not just the experience of writing but also the texture of our fictional worlds.  And this is something we can control.  Sublimely slow writers like Sebald or Duras can make time melt; spritely magicians like Aira and Rushdie seem to shuffle planes of reality with a snap of their fingers.  This seminar gathers fictions that pulse on eclectic wavelengths, asking in each case how narrative tempo embodies a fiction's character.  Our exercises will play with the dial of compositional speed, testing writing quick and slow; alternately, we'll try to recreate the effects of signature texts.  Weekly creative and critical responses will culminate in a final project.

John Gardner said that the writer’s task is to create “a vivid and continuous fictional dream.” This technical seminar will focus on the role of detail in maintaining this 
dream. In this course we will deconstruct and rebuild our understanding of concepts like simile, showing vs. telling, and symbolism, asking what these tools do and what purpose they serve. Drawing from fiction and essays from Ottessa Moshfegh, Barbara Comyns, Zadie Smith, and others, students will practice noticing, seeing anew, and finding fresh and unexpected ways of describing. We will also examine what is worthy of detail in the first place, how detail functions outside of traditional scene, and the merits and limits of specificity, mimesis, and verisimilitude. Finally we will consider what it means to travel across a landscape of vagueness and euphemism as we search for the quality of “thisness” that James Wood claims all great details possess. In addition to assigned readings, students will be responsible for reading responses, short craft analyses, vigorous class participation, and several creative exercises and peer critiques applying these lessons.

Describing fiction writing as an “art” is perhaps a misnomer. Depending on who’s describing it, the process of creating a narrative is more like driving in the dark, or woodworking, or gardening. The metaphors abound, but the techniques for creating effective fictional prose are often quite consistent. This course will begin with a weeks-long consideration of selected works of fiction where discussion will aim to distinguish the basic devices of effective storytelling. Weekly topics will range from subjects as broad as point of view and plot arrangement to more highly focused lessons on scene design, dialog, and word choice. Throughout the term, the writing process will be broken down into stages where written work will focus on discrete story parts such as first pages, character introductions, and dialog-driven scenes before students are asked to compose full-length narratives. Along the way, students will chart their processes of conceptualizing, drafting, and revising their narratives. Finally, in the latter weeks of the quarter, emphasis will shift to the workshopping of students’ full stories.

“Write what you know” is common and clichéd creative writing advice, but also happens to be quite helpful to those of us new to fiction. In this Beginning Fiction workshop, we’ll use memories as the raw material for our fiction, concerning ourselves with telling stories effectively rather than telling the truth and leveraging our deep impressions of real people, places and time to create convincing imagined worlds. Along the way, we’ll read the work of writers who have used their own experiences and impressions in fiction, such as Jayne Anne Phillips, Edward P. Jones, Annie Ernaux, and James Baldwin, among others, and discuss the benefits, limitations and ethical questions of writing fiction from lived experience. Many of our in-class activities and exercises will focus on training ourselves to remember more effectively in an effort to understand more deeply the relationship between memory and imagination. To be successful, students will read and write actively and share their well-informed opinions with enthusiasm, especially in our workshop discussions.

In life and in fiction writing, character development is often synonymous with major challenges: obstacles that demand deep investigation, adaptation, and change. Using the character-driven models of Tove Ditlevsen, Ottessa Moshfegh, Lucia Berlin, Edwidge Danticat, Eileen Chang, and other writers, this Beginning Fiction Workshop will explore strategies for crafting complex characters: illustrating their motives, perspectives, and arcs of evolution. Through a combination of generative writing exercises and writing workshops (wherein students will share original work and receive critical feedback from the class), each student will produce at least one complete short story.

All writers are exiles wherever they live and their work is a lifelong journey toward a lost land.” So wrote Janet Frame, a singularly talented author who was institutionalized at the age of 21, then saved from a lobotomy only because she won a literary prize. In keeping with Frame’s reflection, this craft-based course will focus on strategies for saving our lives through fiction writing: how to cultivate a convincing voice; how to extract strength from our writerly weaknesses; and, ultimately, how to forge a home for ourselves in our own words. Through a combination of creative exercises, we will explore and examine the craft components of strong, original fictions, including character development, descriptive detail, compelling dialogue, and rich sentences. We’ll also learn how to read the works of published writers for creative inspiration, mining texts by masters such as Janet Frame, Alice Munro, Julio Cortazar, Sofia Samatar, and Yasunari Kawabata. Primarily, we will workshop original student writing throughout the term, developing a portfolio of stories that reflect our individual interests, desires, and needs as writers.

This workshop is for any student with a novel in progress or an interest in starting one. Our focus will be the opening chapter, arguably the most consequential one—for the reader naturally, but most importantly for us the writer. How might it introduce the people and world of the story, its premise or central conflict, its narrative tone and style? How might it intrigue, orient, or even challenge the reader and begin teaching them how to read the book? And if the opening chapter is our very starting point as the writer, how might it help us figure out the dramatic shape of our novel, its thematic concerns, its conceptual design? We’ll apply such questions to the opening chapters of an exemplary mix of novels—The Great Gatsby, The Age of Innocence, Invisible Man, Beloved, The Wind-Up Bird Chronicle, The Vegetarian, Normal People, etc.—and examine what they are expected to do as well as what they can unexpectedly do. And as everyone workshops the first chapter (or prologue) of their own novel, we’ll consider ways of adjusting or rethinking them so that the author can better understand their project overall and build on all the promise of the material they have.