Register for this event here.

Register for this event here.

In this workshop, Larissa will share a variety of approaches to writing from images and visual art, and through fragment, weave essayistic creative nonfiction from stellateing points of observation and relationality. Participants are encouraged to arrive at the workshop with an image (like a personal snapshot, family or archival photograph) or piece of art (like a drawing, painting, sculpture, or piece of architecture) to work from.

Cost: $100

This workshop is exclusively for BIPOC writers.

Please click here first to complete a required form, then submit your payment here.

This course will take place online via Zoom. Participants will receive instructions for access prior to the start of class.

In this workshop, Yiyun will talk about how stories about human relations are made of patterns rather than events and discuss how to apply ‘geometry’ in both a temporal and spatial sense – concepts such as triangulation, mirroring, invisible lines, beautiful symmetry – to create stories that transgress the ordinary.

“Some people hold the view that a story in contrast to a novel is an étude. I resist that notion. A story can be as big, as epic, as symphonic as a novel. And a story is never just a slice, or a sliver of life, but as complex, murky and unresolved as life.

To read a great story is to be absorbed into an entire world that is made of many lives. But a story is limited in its space and its word count.

In my own reading and writing stories, I have come up with a shorthand to distinguish an okay story or good story from a great story.

In every great story, there are at least 3 stories. Sometimes three stories are not enough. Why don’t we say 5 stories? In fact, why don’t we shoot for 7.

It may sound fancy or crazy to work 5 or 7 stories into the space of a single story. But I not only think it is possible. But more importantly, it is necessary if one wants to write a great story.

There are many ways to make multiple stories into one story. I'm going to talk about one way which is to think about geometry in story.” - Yiyun LI

Cost: $100

This craft talk is exclusively for BIPOC writers.

Please click here first to complete a required form, then submit your payment near the bottom of the page found here.

Kaitlyn Greenidge's debut novel is We Love You, Charlie Freeman (Algonquin Books), one of the New York Times Critics' Top 10 Books of 2016. Her writing has appeared in the Vogue, Glamour, the Wall Street Journal, Elle, Buzzfeed, Transition Magazine, Virginia Quarterly Review, The Believer, American Short Fiction and other places. She is the recipient of fellowships from the Whiting Foundation, the National Endowment for the Arts, the Radcliffe Institute for Advanced Study, the Lewis Center for the Arts at Princeton University and the Guggenheim Foundation. She is currently Features Director at Harper’s Bazaar as well as a contributing writer for The New York Times. Her second novel, Libertie, is published by Algonquin Books and out now.

Register for this event here.