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In a recent article for The New York Times, novelist David Mitchell stated: “A novel contains as many versions of itself as it has readers.” Reading is an intimate, individual endeavor, and its reward depends heavily on what the reader brings to the table – but what is the writer’s relationship and responsibility to this individual experience? If certain aspects of narrative depend heavily on a single, universal interpretation, how can the writer control the basic reading experience, ensuring that almost every reader is (for lack of a better phrase) on the same page? In this workshop, we will focus on layering the world of the narrative and manipulating information transfer – detail, voice, and nuance, the smoke-and-mirrors and sleight-of-hand techniques that are the writer’s equalizing arsenal.
Save $10 with Early Bird Coupon 2016fall10 | Expires August 29
Due to COVID-19, all classes will take place online-either through Zoom or through Wet Ink, our asynchronous learning platform-through the end of 2020.
All times are listed in Pacific Time.
Téa Obreht’s writing has been published in The New Yorker, The Atlantic, Harper’s, Zoetrope: All-Story, The New York Times, and The Guardian, and has been anthologized in The Best American Short Stories and The Best American Non-Required Reading. Her debut novel, The Tiger’s Wife (Random House) won the Orange Prize for Fiction in 2011 and she was named one of the twenty best American fiction writers under forty by The New Yorker.