Advanced Workshops

Writing about dreams is a commonly espoused no-no for inexperienced writers, often associated with lazy storytelling (“I don’t need to explain that: it was all a dream!”) and a lack of verisimilitude (“Dreams don’t need to make sense; they follow their own dream-logic”). For experienced writers, however, dreams can not only serve as compelling storytelling vehicles, but as valuable windows into our narrative processing. Mining the dreamy fictions of Marianna Fritz, Amparo Davila, Clarice Lispector, Vanessa Onwuemezi, and Leonora Carrington, we will develop inspirational templates for our own dream-focused fictions. This course will incorporate a mix of craft lectures, reading discussions, dream diaries (and other generative writing), along with formal workshopping of dream-inspired short stories.

“If you want a compelling story, put your protagonist among the damned.” --Charles Baxter

While crisis is to be avoided in life, when it comes to narrative, trouble is your friend. In this advanced workshop we'll explore the complex ways writers create conflict in their stories, be it internal or external, spiritual or physical, romantic, financial or familial. We'll read masters of the form like Edward P. Jones, George Saunders, ZZ Packer, Jhumpa Lahiri, and Yiyun Li, and discuss how they generate conflict that feels organic, character-driven, and inevitable. Weekly writing exercises will encourage you to take creative risks and hone new skills. Each student will workshop two stories, with strong emphasis on focused and productive peer critique and in-class commentary.

This writing and reading course will allow us to explore the city of Chicago and many approaches to studying it and responding to it in prose both fictional and nonfictional. We’ll think about issues like crises in housing, asylum, incarceration; about art and space in photographs, public murals, sculpture, architecture; and about plants, animals, and waterways. Students will write shorter exercises, keep a Chicago notebook, and write a longer piece for workshop. Readings may include Eve Ewing, Lori Waxman, Frank London Brown, Gwendolyn Brooks, Rosalyn LaPier, Stuart Dybek, Saul Bellow, Sandra Cisneros, Aleksandar Hemon, Jeanne Gang, Rebecca Zorach, Studs Terkel and more.

What does it mean to make sense out of lived experience? How do we claim ownership of our own stories, and shape those narratives on our own terms, independent of pressures that originated elsewhere? How do we craft narrative personas that readers deem trustworthy; how do we capture voices that feel compelling, urgent, and help to reorder the fallout of our lives into a coherent structure that can offer insight, even to readers we have never met? In this advanced nonfiction workshop, we will attempt to grapple with some of these concerns. With a particular emphasis on memoir and personal essay, we will explore what it means to excavate the self and map out the vast terrain contained within. Readings will include Vivian Gornick, Leslie Jamison, Aleksander Hemon, James Baldwin, William Maxwell, Orhan Pamuk and Thomas Browne. Class time will be split between discussion of readings and student led workshops of original essays/memoirs in progress. By the end of the quarter, students will have workshopped two pieces of writing and submitted a final portfolio.

In this generative advanced poetry workshop we will find inspiration for our own poetry by engaging with the visual arts. We will read poems that respond to, reflect, and refract the arts, and exercises will be based on our own encounters in museums, at the movies, in the realms of fashion, architecture, landscape, and elsewhere. We will ask ourselves about artifice and making, the materiality of the written word, the relationship between observation and expression, the emotive qualities of the image, and the sonic qualities of words. Most of our course reading will be contemporary poetry, but we will also explore a range of exciting earlier examples. Each class meeting will include workshops of student poems, discussions of assigned literature, and conversations about art practice and art community. In addition to reading deeply, looking closely, and writing wildly, students are expected to be lively participants in the arts community on campus, and will attend exhibitions, concerts, readings, screenings, and other events and experiences that bring us into contact with various modes of expression. Texts may include poems by, Harryette Mullen, James Schuyler, Brenda Shaughnessy, David Trinidad, and Virgil.

This genre-blurring workshop will explore elements of the history and practice of the prose poem. We will also read texts that are difficult to classify in terms of genre. “Flash Fiction,” “Short Shorts,” the fable, the letter, the mini-essay, and the lyric essay will be examined, among others. We will discuss the literary usefulness (or lack of it) of genre and form labels. The class will be taught as a workshop: students will try their hand at writing in their choices of hybrid forms, and will be encouraged to experiment. Writers from all genres are welcome, as what we will be studying, discussing, and writing will involve the fruitful collision of literary genres.

In some ways, writing a first-person narrator seems like the most straightforward and natural kind of storytelling in the world. But as any writer who has made the attempt knows, that simple little “I” comes with an array of pitfalls – and possibilities. In this advanced fiction workshop, we will look at the many styles and approaches to first-person point of view: central narrators who are at the heart of the plot, peripheral narrators who witness and stand a little apart, the singular “I” vs. the plural “We,” direct address (often mislabeled as second-person narration), and the spectrum of unreliability. We will read and discuss fiction by writers like Jamaica Kincaid, Haruki Murakami, Kazuo Ishiguro, Charles Portis, Alice Munro, Raven Leilani, Russell Banks, Evan S. Connell and others, drawing craft lessons from these writers to guide our own attempts at writing in first person. Much of our class time will be dedicated to evaluating student work and honing our skills of composition and critique. In addition to shorter writing exercises throughout the quarter, every student will complete a full-length first-person short story for workshop and compose critique letters for each of their peers. Students will be required to significantly revise their full-length story by the end of the quarter.

In this workshop-based course we'll investigate how strangeness and magic function in short fiction. 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.

Beginning a novel can be daunting, but this class aims to both remove some of the mystery behind the process and encourage students to break through whatever barriers may be there, and start writing. This class will examine the early stages of developing and writing a novel: choosing the POV and narrative voice, establishing the setting, developing the main characters and the dynamics between them, setting up the conflicts and seeding themes, choosing areas to research, etc. As a class we will read, break down, and discuss the openings of several published novels as you work on your own opening chapters, which will be workshopped during the latter part of the course. In addition to reading and discussing a selection of published novel openings, expect to write and submit two of your own opening chapters of a novel-in-progress, read chapters from your peers to discuss during workshop, and turn in a revision of one of your chapters at the end of the course.

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 writer. Throughout the quarter, we’ll read the first chapters of a diverse mix of exemplary novels and examine how they effectively introduce key aspects of the work, like the characters and their world, the premise and central conflict, the novel’s thematic concerns, its form and storytelling strategy. How do these opening pages intrigue, orient, or even challenge the reader and begin teaching them how to read the book? And if this was the author’s actual starting point, how might it give them a better picture of the rest of the book, of aspects they haven’t yet figured out? As everyone workshops the first chapter (or prologue) of their own novel, we’ll ask the same questions and discuss how the author might adjust or rethink things to better understand the project overall and build on the promise of the material they have.