A short course in how a short story might be made.
After teaching last week at the Cape Cod Writers’ Conference, with, for and among an amiable group, I came home with a few thoughts: what students are seeking in workshops such as this one (I imagine academic classes may be different) is contact.
It’s important to avoid overusing your own point of view.
My poetry leads me to focus on word choice, the rhythm and sound of language, the flow of sentences—all of which are essential to the success and the intensity of the short story.
These five days are about your expansion. This doesn’t mean belittling who you are right now as you sit here. It reflects what I’ve learned from my own writing and from teaching workshops: that we all have more possibilities and potentials than we realize.
MONDAY SPELLBINDING SHORT STORIES: WHAT DOES THIS MEAN? Catching your reader’s attention with: A. TITLES: SHORT, PUNCHY, DIRECT, WITH AN ELEMENT OF MYSTERY “What Remains” (Emma Donoghue); “Ashes to Ashes to Ashes” (Ruth Nadelhaft); “Winter Term” (Sallie Bingham); “The Lady with the Pet Dog” (Anton Chekhov); “The Beast in the Jungle” (Henry James) — choose