Claire Keegan, internationally acclaimed author and teacher of creative writing, will demonstrate and explore the mechanics of fiction-writing and narrative structure using stories by Chekhov and Raymond Carver. Participants will study:
Discussion will include the narrative structure, desire, time, paragraph structure, tension versus drama, statement, suggestion, conflict, character, humour, place and point of view. The day will be of particular interest to those who write, teach, read or edit prose — but anyone with an interest in reading or how fiction works is most welcome to attend.
Fee 350 euro with manuscript / 175 Euro without manuscript
Claire Keegan will be running two manuscript-based workshops in Dublin city centre on Saturday 8th and Saturday 29th February. This is a unique opportunity to have your work read and critiqued by Claire.
The workshops are completely independent of each other, and run from 9am to 5pm. Manuscripts of up to 3,000 words must be submitted 10 days in advance. People are also welcome to attend the workshops without a manuscript.
A 3-day fiction-writing workshop with Claire Keegan concentrating 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 March 1, distributed to every participant, and read with care by all. Keegan will read every text before the workshop begins, and then discuss every text with the group.
Discussion will include the structure of a narrative, paragraph structure, time, tension versus drama, melodrama, statement, description, suggestion, conflict, character, humor, point of view, dialogue, place and time. The aim of Claire’s fiction-writing workshops, 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 — but anyone with an interest in how fiction 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.
Tuition for this 3-day fiction-writing workshop with Claire is 450 Euro. To book your place, contact email@example.com
Three-day seminar with Prof. Mary McCay of New Orleans
June 26–28, 2020
Teach Bhride, Tullow, Co. Carlow
Racial issues have surfaced all over the world. Tribal genocide, refugee deaths, entry refusals against asylum seekers, all highlight fear of the other, and the racial antagonisms have deepened as politicians play on people’s fears. Another factor in the current racial climate is white (especially white male) fear of loss of hegemony. Ironically, it often is expressed by white men who have never really benefited from the white male power structure. This three-day seminar will look at the classic racial paradigm, African American slavery and its lingering political consequences, but we will also look at other countries’ attitudes that, while not specifically related to chattel slavery, are related to colonialism and its consequences. We will read Valerie Martin’s Property, Toni Morrison’s The Bluest Eye, and Ta NeHisi Coates’“The Case for Reparations”. We will view I Am Not Your Negro, a film based on James Baldwin’s unfinished book directed by Raoul Peck. We will also examine how racism in America is both a paradigm of international racial problems and a bell weather for racism in other countries.
The fee is 500 Euro and it includes tuition, two nights’ accommodation and meals. To book, please email firstname.lastname@example.org
Mary McCay has taught American Literature and American Studies in both the U.S. and Europe; she is especially focused on examining literature in the context of race, class, and gender. She is also very interested in how others view Americans, and in the fall, 2019, she taught English in Vietnam. What surprised her was how forgiving the Vietnamese were of America and Americans.
Prof. McCay’s teachings were the first to inspire Claire Keegan to write fiction. These teachings and her lectures continue to inspire Claire to teach creative writing.
Claire Keegan, internationally acclaimed author and fiction-writing teacher, will direct this, her most popular fiction writing course, using a novel, two short stories, and a film 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 Martin Scorsese’s film “Taxi Driver”.
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 are 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.
These seminars 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.
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.
and discussions will be held in the afternoons and evenings on the
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
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
Keegan’s story collections include Antarctica,Walk
the Blue Fields and
& 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
the Blue Fields, her
Richard Ford’s Book of the Year in 2010, and won the Edge Hill
Prize, awarded to the strongest collection published in the British
the Davy Byrne’s Award, the then world’s richest prize for a
single story. NewYorker
readers chose Foster as their story of the year. It was
also published in Best
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.
line seems to be a lesson in the perfect deployment of both style and
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
New York Times
single word in the right place and pregnant with double meaning.” –
Jeffrey Eugenides, The
New York Times
is a rarity, someone I will always want to read.” –