*New Dates* What I Learned From Chekhov

A Residential Weekend

July 31 to August 3 2020

Teach Bhride, Tullow, Co Carlow.

A three-day course in which Claire Keegan will share what she learned from reading Chekhov’s stories and letters. She will also be looking at the writing advice Chekhov gave and referring to essays by James Woods, Nabokov, Harold Bloom and Eudora Welty, but the seminars’ primary focus will be on this selection of twelve stories:

1. Champagne 

2. The Lottery Ticket 

3. On Easter Eve 

4. In the Ravine 

5. Ward No 6

6. Betrothed 

7. An Anonymous Story 

8. The Chorus Girl 

9.  Peasants 

10. Oysters

11. A Country Cottage

12. The Trousseau 

Participants are free to read any translation, but the Constance Garnett translations may be found here.

Recommended reading: 

Chekhov by V.S. Pritchett 

Reading Chekhov by Janet Malcolm 

A New Life of Anton Chekhov by Ronald Hingley 

A Writer for Grown-ups” by Richard Ford

Tuition is 600 Euro and includes three nights’ accommodation and all meals from Friday after lunch until Monday after lunch. The non-residential fee option is 400 Euro. Lectures begin at 2pm on Friday and conclude at 1pm on Monday. 

Please note that all participants will be accommodated in plain, clean rooms. Some en-suites are available but some bedrooms share a bathroom. There is a 30 Euro supplement for an en-suite booking. 

Breakfast is help yourself. Lunch and dinner will be served. All meals are home-cooked and everyone is welcome to make tea/coffee. 

To book, please email ckfictionclinic@yahoo.com

Manuscript-based Workshop with Claire Keegan

June 13, 2020from 9.45am to 5pm

Carmelite Centre, Aungier Street, Dublin city centre

This is a unique opportunity to show your work to an internationally renowned author. Participants should present a 3,000-word manuscript ten days before the workshop. Claire Keegan will personally read each manuscript and offer advice, valuable insights and constructive criticism.

The fee is 350 Euro.

Everyone interested in fiction and writing is welcome.

To book or request more information, please email ckfictionclinic@yahoo.com

To read reviews of Claire Keegan’s workshops and courses, click here

For more courses and dates, click here

What’s the Point in Talking?

A Weekend on Dialogue with Claire Keegan Goldsmiths University, London 10am–5pm, October 24 & 25, 2020

In response to many requests, Claire Keegan will be directing another weekend on writing dialogue. She will argue that human speech is full of casual and consequential misunderstanding, that some of what we (or our characters) say is not what we wish to say or reveal or realise — or hear. She will also focus on why it isn’t always possible to hear what is being said, and why we often cannot or do not wish to listen. And how, despite our attempts to say little, we reveal a great deal through speech; how, through our talk and silences, we give ourselves away. 

Course participants will be asked to read specific scenes from two novels, and six short stories. Participants will also consider accents, dialogue layout, pacing, humour and balancing descriptive paragraphs with dialogue. 

This course will likely be of interest to those who read, act, write or edit novels, short stories, plays, memoirs, screen plays — or are simply interested in reading or how and why people talk. 

To book your place, email ckfictionclinic@yahoo.com

Tuition £450. 

A 50% deposit secures a reservation. 

All welcome.

READING LIST
Excerpts from novels: 

1. Pride and Prejudice by Jane Austen 

2. Tess of the D’Urbervilles by Thomas Hardy


Short stories: 

3. “The District Doctor,” by Ivan Turgenev, translated by Constance Garnett 

4. “Reunion” by John Cheever 

5. “Miss Brill,” by Katherine Mansfield 

6. “Hills Like White Elephants,” Ernest Hemingway  

7. “What We Talk about When We Talk about Love,” by Raymond Carver 

8. “Kathleen’s Field,” by William Trevor 

Residential Writing Weekend with Claire Keegan

January 1–3, 2021

Teach Bhride Holistic Centre, Tullow, Co. Carlow, Ireland

The residential writing weekend with Claire Keegan will see all participants arriving at Teach Bhride on Friday afternoon before dinner. The next two mornings will be spent writing in any genre in well lighted, quiet spaces without mobile phones.

Lectures and discussions will be held in the afternoons and evenings on the following:

  • Letters by Anton Chekhov & others
  • Letters by writers on writing
  • Essays by Eudora Welty, Frank O’Connor and Flannery O’Connor
  • Hemingway’s advice on writing
  • Some poems on writing and creativity
  • Viewing of A Private World, a documentary on John McGahern

Tuition includes all meals and two nights’ accommodation, with everyone arriving before dinner on Friday, helping themselves to breakfast both mornings, and leaving before dinner on Sunday evening. This course will suit anyone interested in a quiet weekend of writing. None of what is written will be read aloud. It’s a chance to engage with the intricacies of the creative process and use your imagination.

To book your place, contact ckfictionclinic@yahoo.com Tuition is 500 Euro. A 50% deposit secures.

Read reviews of previous courses and workshops on g.page/ckfictionclinic/review

Claire Keegan’s story collections include Antarctica, Walk the Blue Fields and Foster (Faber & Faber). These stories, translated into 17 languages, have won numerous awards. Her debut, Antarctica, was a Los Angeles Times Book of the Year. “These stories are among the finest stories recently written in English,” wrote the Observer. Walk the Blue Fields, her second collection, was Richard Ford’s Book of the Year in 2010, and won the Edge Hill Prize, awarded to the strongest collection published in the British Isles. Foster won the Davy Byrne’s Award, the then world’s richest prize for a single story. New Yorker readers chose Foster as their story of the year. It was also published in Best American Stories and is now on the school syllabus in Ireland. Keegan has earned an international reputation as a teacher of fiction, having taught workshops on four continents.

“Every line seems to be a lesson in the perfect deployment of both style and emotion.” – Hilary Mantel

“The best stories are so textured and so moving, so universal but utterly distinctive, that it’s easy to imagine readers savoring them many years from now and to imagine critics, far in the future, deploying new lofty terms to explain what it is that makes Keegan’s fiction work.” – The New York Times

“Every single word in the right place and pregnant with double meaning.” – Jeffrey Eugenides, The New York Times

“Keegan is a rarity, someone I will always want to read.” – Richard Ford