Advanced Workshops

All writing is revision, and this holds true for the practice of literary translation as well. We will critique each other’s longer manuscripts-in-progress of prose, poetry, or drama, and examine various revision techniques—from the line-by-line approach of Lydia Davis, to the “driving-in-the-dark” model of Peter Constantine, and several approaches in between. We will consider questions of different reading audiences while preparing manuscripts for submission for publication, along with the contextualization of the work with a translator’s preface or afterword. Our efforts will culminate in not only an advanced-stage manuscript, but also with various strategies in hand to use for future projects. Students who wish to take this workshop should have at least an intermediate proficiency in a foreign language and already be working on a longer translation project.

Day/Time: Monday, 1:50 - 5:00 PM

Place—and the writing of places—is a conundrum of the imagination. We live in the present moment, yet we are haunted by remnants of our history: repurposed buildings, lands containing layers of legacy. We live in a world that constantly pushes toward new development while much of our natural environment is disappearing. In this class, we will explore critical questions inherent to the writing of place in a world of disappearing landscapes: How can we write place in a way that embodies the fleeting sensation of being there? How can we use place to evoke—precisely—the most elusive parts of experience: the topography of emotions, the clouded shapes of memories? Through the place-driven writing of Italo Calvino, Cesar Aira, Anna Kavan, Lucia Berlin, Edwidge Danticat, Ottessa Moshfegh, and other contemporary authors, we will discover strategies for descriptive world-building and illustrating environmental change. With a combination of creative exercises and workshops, we will also write our own place-driven stories.

Day/Time: Thursday, 4:20 - 7:20 PM

Where should a poem end and what should that ending feel like? We’ll acquaint ourselves with many possible answers to these questions as we read a range of poems from the past and present, seeking out new models to challenge and refine our ideas and habits around closure. To better understand closural strategies in our own and others’ poetry, we’ll examine narrative and lyric expectations, prosody, epiphany, seriality, anti-closure, and procedure, discussing the sociohistorical context and politics of poets’ formal choices. Course readings will be determined by the needs and interests of the group and will enrich the workshop dialogue around your own poetry. Students will be asked to write and share a new poem each week and to participate rigorously in discussion.

Day/Time: Friday, 1:50-3:50 PM

“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.

Day/Time: Monday, 1:50 -3:50 PM

In this advanced fiction workshop, students will work on novel-length projects, completing one to two polished chapters and an outline of a full novel. We will explore how to structure a book that is both propulsive and character-driven, and how to create a compelling, unique narrative voice. Works by James Baldwin, Edith Wharton, Ha Jin, Vladimir Nabokov, and Akhil Sharma will help us consider the crucial relationship between characters and their contexts.

Day/Time: Thursday, 9:40-12:40 PM

A story's end point determines its meaning. The history of a life can be covered in a sentence, a few pages or seven volumes. How do writers decide? In this advanced workshop, we'll look at different ways to handle narrative time, paying special attention to building blocks like direct and summary scene, flashback, compression, slowed time and fabulist time. We'll examine work by writers whose long stories feel like novels, like Alice Munro and Edward P. Jones, alongside those who say everything in a short single scene of a page or two, like Grace Paley and Justin Torres. Students will be encouraged to experiment with time in both writing exercises and story revisions. Each student will workshop two stories, with strong emphasis on focused and productive peer critique and in-class commentary. 

Day/Time: Monday, 12:40-2:40

This advanced workshop asks you to complete new stories at a rapid clip.  Composing short works in quick succession, you will gain a more confident handling of narrative, a writing practice that pushes forward, and a more objective view of your own trajectory as a writer.  For the sake of brevity and the example of serial development, we will study models such as Lydia Davis, Yasunari Kawabata, Clarice Lispector, and Franz Kafka.  In addition to completing and sharing several writing exercises, you will twice submit a batch of stories for workshop.  

Day/Time: Tuesday, 1:00-4:00 

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.

Day/Time: Thursdays, 2:40-5:40pm

This workshop-based course is for any student who is interested in or already working on a novel. In the first few weeks of the course, we will read and discuss a selection of first chapters from some exemplary and diverse novels (like The Great Gatsby, Invisible Man, Beloved, The Wind-Up Bird Chronicle, The Age of Innocence, The Brief and Wondrous Life of Oscar Wao, The Virgin Suicides) and discuss what a first chapter can—even should—do and the different ways that it can do these things. How do certain novels introduce its characters, its plot, its setting, its principle concerns and philosophies? How do they dive into the narrative in ways that intrigue or even challenge us? How do certain opening chapters teach us how to read the rest of the novel? These and other crucial questions will be addressed throughout the course, particularly during our workshops, where everyone will present the first chapter or two of their novel-in-progress. Along with the fundamentals of craft like language, characterization, plotting, and structure, etc., we will look at how we can adjust or rethink our opening chapters so that we can move forward more effectively with the larger project.

Day/Time: Tuesdays, 2:40-5:40

Might there be a kind of poem that is a parasite latched on to a host body? This poetry workshop invites students to read and write poetry that, either overtly or subtly, engages with other texts. We’ll examine ways that poems create these intertextual relationships (e.g. quoting, alluding, echoing, stealing, sampling, imitating, translating…) and test out these methods in our own writing. Students should expect to engage with the basic question of how their work relates to other texts. Expect to read a substantial amount of work by modern and contemporary poets, submit new original poems for workshop, complete intertextual writing exercises, keep a reading journal, write critical responses to the readings and peers’ work, and submit a final portfolio. A substantial amount of class time will be spent workshopping student work.

Day/Time: Mondays, 10:20-12:20