Beginnings, Middles, Endings: The Structure of a Narrative with Claire Keegan — Singapore, 3rd – 4th November

pixabay singapore

November 3 & 4, 2018.  9:30am–5pm, both days.
NTU, Singapore.
Tuition: €400. A 50% deposit secures.
To book your place, contact:
ckfictionclinic@yahoo.com  

 

Claire Keegan, internationally acclaimed author and fiction-writing teacher, will direct this, her most popular fiction writing course, using a novel and two short stories to demonstrate and explore the mechanics of fiction writing and narrative structure.

  1. The Great Gatsby by F. Scott Fitzgerald
  2. “The Displaced Person” by Flannery O’Connor
  3. “A Small, Good Thing” by Raymond Carver
  4. We will also refer to Jane Campion’s adaptation of Portrait of a Lady.

How do stories begin? How and why does an author make an incision in time and build tension? How is a reader drawn into a narrative? We will also explore the much-neglected middle; the trunk of the story, its denouement and turning points. And ask if endings natural: why do stories need to end, to find a place of rest? The discussion around endings will focus on falling action, emotional consequences and inevitability. Participants will also examine the differences between the short story and the novel.

This weekend will be of particular interest to those who write, teach, read or edit fiction — but anyone with an interest in how fiction or reading works is welcome to attend.

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Fiction Writing Workshop – Sydney, Australia. 8th & 9th November 2018.

sydney
November 8 & 9, 2018.  9:30am–5:30pm.
Ultimo, Sydney, Australia.
To book, contact ckfictionclinic@yahoo.com
Tuition: $650 AUD. 10% Discount for ASA members.
Deadline for manuscripts: 28 October 2018.

 

 

Claire Keegan, internationally acclaimed author and teacher of creative writing, will direct a 2 day prose-writing workshop in Sydney, Australia. This weekend will concentrate on works-in-progress submitted by the participants. Manuscripts (novel excerpt or short story of up to 3,000 words) are due on or before October 28, distributed to every participant, and read with care by all. Keegan will spend between 3-5 hours on each text before the workshop begins, and will then examine and discuss every text with the group. Discussion will include the structure of a narrative, paragraph structure, tension versus drama, melodrama, statement, description, suggestion, conflict, character, humour, point of view, place and time. The aim, always, is to help each author with the next draft. The workshops will be of particular interest to those who write, teach, read or edit fiction or non-fiction — but anyone with an interest in how prose works, improving their prose and/or helping others to do so, is welcome to attend. While most participants like to submit a manuscript, this is not a requirement.

Beginnings, Middles & Endings: How Fiction Works. 10 & 11 November – Sydney, Australia.

sydney 2

10 & 11 November 2018. 9.30am – 5:30pm.
University of Technology – Sydney, Australia.
To book, contact ckfictionclinic@yahoo.com
Tuition: $650 AUD. 50% deposit secures your place.

 

Claire Keegan, internationally acclaimed author and teacher of creative writing, will direct this, her most popular fiction writing course, using a novel and two short stories to demonstrate and explore the mechanics of fiction writing and narrative structure.

Participants will be studying:

1.  The Great Gatsby by F. Scott Fitzgerald
2. “A Misfortune” by Anton Chekhov
3. “Chef’s House” by Raymond Carver

Discussion will include the structure of a narrative, paragraph structure, desire, tension versus drama, melodrama, statement, description, suggestion, conflict, character, humour, point of view, place and time. The weekend will be of particular interest to those who write, teach, read or edit fiction — but anyone with an interest in how fiction or reading works is welcome to attend.

Beginnings, Middles & Endings Course – Melbourne, Australia. 13th & 14th November 2018.

melbourne-966467_640 (1)13-14 November 2018.
9.30AM – 5PM, both days.

Swinburne University of Technology, Melbourne.
To book, contact ckfictionclinic@yahoo.com
Tuition: $650 AUD. 50% deposit secures.

 

Claire Keegan, internationally acclaimed author and fiction-writing teacher, will direct this, her most popular fiction writing course, using a novel and two short stories to demonstrate and explore the mechanics of fiction writing and narrative structure.

  1. The Great Gatsby by F. Scott Fitzgerald
  2. “The Displaced Person” by Flannery O’Connor
  3. “A Small, Good Thing” by Raymond Carver
  4. We will also refer to Jane Campion’s adaptation of Portrait of a Lady.

How do stories begin? How and why does an author make an incision in time and build tension? How is a reader drawn into a narrative? We will also explore the much-neglected middle; the trunk of the story, its denouement and turning points. And ask if endings natural: why do stories need to end, to find a place of rest? The discussion around endings will focus on falling action, emotional consequences and inevitability. Participants will also examine the differences between the short story and the novel.

This weekend will be of particular interest to those who write, teach, read or edit fiction — but anyone with an interest in how fiction or reading works is welcome to attend. To book your place, contact ckfictionclinic@yahoo.com

Prose writing workshop – 19 & 20 November, 2018. Melbourne, Australia.

melbourne 2
19 & 20 November, 2018. 9.30 – 5.30.

Swinburne University of Technology, 
Melbourne, Australia. 
To book, contact ckfictionclinic@yahoo.com
Tuition: $650 AUD.
Manuscript deadline: 8 November 2018.

 

Claire Keegan, internationally acclaimed author and teacher of creative writing, will direct a 2 day prose-writing workshop. This weekend will concentrate on works-in-progress submitted by the participants. Manuscripts (novel excerpt or short story of up to 3,000 words) are due on or before November 8, distributed to every participant, and read with care by all. Keegan will spend between 3-5 hours on each text before the workshop begins, and will then examine and discuss every text with the group. Discussion will include the structure of a narrative, paragraph structure, tension versus drama, melodrama, statement, description, suggestion, conflict, character, humor, point of view, place and time. The aim, always, is to help each author with the next draft. The workshops will be of particular interest to those who write, teach, read or edit fiction or non-fiction — but anyone with an interest in how prose works, improving their prose and/or helping others to do so, is welcome to attend. While most participants like to submit a manuscript, this is not a requirement.

Beginnings, Middles, Endings Workshop in Paris — 23rd & 24 February 2019.

parisBeginnings, Middles, Endings:
The Story of
 Narrative with Claire Keegan.
Centre Culturel, Paris.
February 23 & 24, 2019.
Tuition Euro 350. To reserve, contact ckfictionclinic@yahoo.com 

 

 

During these two days we will consider the structure of a narrative using the translation of a French novel and three short stories.

Participants will be asked to read and carefully consider the following:

1. “The Silent Men” and “The Adulterous Woman”; from Exile and the Kingdom by Albert Camus, translated by Justin O’Brien.

2. “The Legend of Saint Julian the Hospitalier”; from Three Tales by Gustave Flaubert.

3. A Woman’s Life by Guy de Maupassant.

4. We will also watch scenes of the film based on A Woman’s Life, and discuss what a scene is and how it reveals character.

BEGINNING: How and where do stories begin? How does an author make the incision in time and develop rising tension? How is a reader drawn into the narrative? Why do readers sometimes not get past the first page and put the book down? At what point does the beginning end and the middle begin? And why?

MIDDLE: If the beginning and the ending are the extremities, then the middle is the trunk of the story. We will look at why most manuscripts, if they fail structurally, tend to fall and waver in the middle. And we’ll examine the relationship between the beginning and the middle, how and why one feeds off the other. All participants will be asked to consider and reconsider what the middle is, how it functions in the text — and why it sometimes fails. We will discuss the texts with a view to deciding where the middle ends and the ending begins.

END: How do we conclude? Are endings natural — or an artifice? Isn’t life and learning ongoing — until it isn’t? The focus will be placed on falling action, resolution, redemption, emotional consequences and inevitability.