Undergraduate

This workshop-based course proceeds from the premise that disorder and disruption are fruitful aesthetics that might be applied to numerous elements of fiction to unlock new possibilities in our work. Students will seek to identify typical narrative conventions and lyrical patterns and then write away from them—or write over them, toward subversion, surprise, and perhaps even a productive anarchy. Students will search for hidden structures in work by Taeko Kono, Nafissa Thompson-Spires, Diane Williams, Garielle Lutz, and others, examining the methods these writers use to lead readers to unexpected, original, and transgressive places. Students will complete several short creative exercises in which they practice disruption and disorder in plot, pace, dialogue, and syntax. In the second half of the course, students will workshop one story or excerpt and write thoughtful, constructive critiques of peer work. Revision is also a crucial component of this class, as it is an opportunity to radically warp and deviate from our prior visions. Throughout the quarter, we will attempt to interrupt and shake up our own inclinations as artists.

"The advantage, the luxury, as well as the torment and responsibility of the novelist," writes Henry James, "is that there is no limit to what he may attempt." Writers interested in these torments and luxuries can begin to experiment with long form in this workshop. Each student will compose a single long story of about forty pages. We'll attend to the freshness of beginnings, the satisfactions (and compromises) of endings and, most acutely, to the crises of middles. A scaffolding of workshops, outlines, and conferences will support and structure your efforts. Along the way we'll explore the opportunities of long-form structure with examples from the likes of David Foster Wallace, Alice Munro, Ted Chiang, and Toni Morrison.  Most of our class time will be devoted to workshopping long stories by students.

What we call style is more than literary flourish. Control of a story begins with a writer’s characteristic approach to the line. Style dictates and shapes immersive and impactful worlds of our creation. It’s also indicative of a work’s larger themes, philosophies, and aesthetic sensibility. In this class, we’ll examine fiction by wordsmiths such as James Baldwin, Gabriel García Márquez, Toni Morrison, and Marguerite Duras in order to explore the influence that elements such as diction, syntax, rhythm, and punctuation have on a writer’s style.

What is the nature of the encounter between a narrator and a character, and how do elements of character and plot play out in narrative points of view? Drawing on the narratological work of theorists such as Gérard Genette and Monika Fludernik and of critics such as James Wood, this technical seminar considers what point of view, perspective, and focalization can do or make possible. Readings may include stories by Jorge Luis Borges, Jamaica Kincaid, Haruki Murakami, Jenny Zhang, William Faulkner, Lorrie Moore, Jamil Jan Kochai, Italo Calvino, Ursula K. Le Guin, Gabriel García Márquez, Edith Wharton, Sidonie-Gabrielle Colette, Edwidge Danticat, Jhumpa Lahiri, Lesley Nneka Arimah, and Virginia Woolf, among others, and will introduce instances of first-person-plural and second-person narrative, as well as modes of representing speech and thought such as free indirect discourse. Over the course of the quarter, students will write short analyses and creative exercises, culminating in a final project.

Writing fiction is in large part a matter of convincing worldbuilding, no matter what genre you write in. And convincing worldbuilding is about creating a seamless reality within the elements of that world: from setting, to social systems, to character dynamics, to the story or novel’s conceptual conceit. And whether it be within a genre of science fiction, fantasy, historical fiction, or even contemporary realism, building a convincing world takes a good deal of research. So while we look closely at the tools and methods of successful worldbuilding, we will also dig into the process of research. From how and where to mine the right details, to what to look for. We will also focus on how research can make a fertile ground for harvesting ideas and even story. Students will read various works of long and short fiction with an eye to its worldbuilding, as well as critical and craft texts. They will write short weekly reading responses and some creative exercises as well. Each student will also be expected to make a brief presentation and turn in a final paper for the class.

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.

From “The Little Mermaid” to The Giving Tree, many of us are first introduced to storytelling through tales of love, loss, and self-sacrifice. In this class, we will hone our craft as writers via stories of love and loss, exploring the models of Silvina Ocampo, Christine Schutt, Carmen Maria Machado, Izumi Suzuki, Kelly Link, Camille Roy, and other writers. This course will use “the love story” as a foundation for character development, communication on the page, descriptive language, and the cultivation of unique emotional atmospheres. The class will feature in-class generative writing and a formal workshop (wherein students will share original work and receive critical feedback).

This course will consider brevity as an artistic mode curiously capable of articulating the unspeakable, the abyssal, the endless. Reading very brief works from a long list of writers, we will ask: when is less more? When is less less? What is minimalism? What is the impact of the fragment? Can a sentence be a narrative? Can a word comprise a poem? Our readings will include short poems, short essays, and short short stories by Yannis Ritsos, francine j. harris, Aram Saroyan, Richard Wright, Cecilia Vicuña, Kobayashi Issa, Gwendolyn Brooks, Robert Creeley, Lucille Clifton, Lydia Davis, Jamaica Kincaid, Franz Kafka, Joy Williams, Jenny Xie, Venita Blackburn, Jorge Luis Borges, Jean Valentine, Samuel Beckett, and others. Students will be asked to lead one presentation and to write critical and creative responses for group discussion.

To revise a piece of writing isn’t merely to polish it. Revision is transformation and yields an alternate reality. A new view, a re-vision. This course will start by tracking compositional process, looking at brilliant and disastrous drafts to compare the aesthetic and political consequences of different choices on the page. We’ll then study poems, essays, and stories that refute themselves and self-revise as they unfold, dramatizing mixed feelings and changing minds. We’ll end by considering erasure poetry as a form of critical revision. Our conversations will inspire weekly writing exercises and invite you to experiment with various creative revision strategies. Students will be asked to lead one presentation and to share their writing for group discussion.

In 1917 the Russian critic Viktor Shklovsky coined the word 'ostranenie,'—translating roughly as 'defamiliarization'—to illustrate a concept that asks the writer or artist to see the everyday in new and unfamiliar ways. In fiction writing this means avoiding cliché while cultivating elements of surprise, the unexpected, the strange. It means the author offering a new perspective on something familiar, something surprising and, often, yes, a little weird. So what does it mean to follow the weird as a fiction or creative non-fiction writer? As a poet? How can we indulge that strange, uncanny, often suppressed side of ourselves in a way that not only serves a work of literary art but opens it up to new possibilities? This class will look at ways writers use defamiliarization and other techniques to create unexpected and sometimes jarring effects and will encourage students to take similar risks in their own writing. Students will view read various works of fiction, poetry, creative non-fiction, view films, and read critical and craft- oriented texts. They will write short weekly reading responses and some creative exercises as well. Each student will also be expected to make a brief presentation and turn in a final paper for the class.