Give your writing a boost this spring. Join The Common for a series of craft classes with these literary luminaries.
Jim Shepard: Generating Fiction from History [register]
Vievee Francis and Curtis Bauer: Writing Toward a Poetry Chapbook or Collection [register]
W. Ralph Eubanks: How to Turn a Place into an Essay [register]
Each class includes a craft talk and Q&A with the guest author, generative exercises and discussion in breakout sessions, and a take-home list of readings and writing prompts. Students also receive exclusive access to a free “Behind the Scenes” session about what literary magazine editors look for in submissions. Recordings will be available after the fact for participants who cannot attend the live event.
Each class is $125, or $75 for current subscribers or past Weekly Writes participants.
Sometimes, after finishing a particularly impactful book, I experience a partial paralysis. It’s a sort of ecstatic exhaustion, I think; I’ve felt similarly after long, intense runs. If there is a window nearby, I’ll stare out it without really noticing anything in particular. If my chair is capable of rocking, I’ll do so steadily and rhythmically to the point where people sitting nearby will clear their throats in my general direction. I will occasionally mutter an expletive over and over under my breath. I don’t deny that all this is sort of dramatic. In my own defense, it doesn’t happen that often, and it requires a fairly momentous reading experience. Again, this happens usually after finishing a book. It seems significant, then, that I felt emotionally KO-ed after nearly every story in Jim Shepard’s new collection of short fiction, You Think That’s Bad. The equivalent would perhaps be getting picked up by the same girl eleven times in a row despite having your heart broken every single time. And being ready to be picked up again, if she ever comes back.