A short course in how a short story might be made.
These are my favorite photos of the last year, with links to their blog posts (if any)—Sallie Little brother made up for Christmas play, my next book…: This Writer’s Life The Pond, Santa Fe, NM: Over the Hills and a Great Way Off The Little House on the Prairie: The Little House on the Prairie
For any of you who think, or have thought, about starting a writing group, here is a model that works.
As my biography of Doris Duke continues to simmer in the editing vats at Farrar, Straus, I must for my salvation begin to write—again.
Whether in total isolation or in the compromised solitude most of us suffer, writers create characters whom our readers recognize, care about, and remember; this is the strand that connects us all.
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.
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