The Novel: From Start to Finish

novel workshop

Welcome to “The Novel: From Start to Finish” at The Eckleburg Workshops. In this novel workshop, we will explore drafting your novel and revising voice, detail, characters, place and texture. We will also explore resources for submitting your novel project to an agent. You will have the option to sign up for individualized feedback from a member of the Eckleburg faculty, a published author.

It is important that you understand we are a character-based novel workshop. We are interested in character development and place over plot gratuity, though, we will spend ample time studying and fine-tuning structure. 

  • Character Study: Protagonist, Antagonist and Supporting Characters
  • Scene Study: Mapping and Coding the Narrative
  • Place Study: Mapping and Coding the Setting
  • Compression Study: Rewrite Your Novel as a Flash Fiction
  • Expansion Study: Refill the Novel (Now That You Know Its Essence)

Contributing Faculty

Rae BryantRae Bryant’s short story collection, The Indefinite State of Imaginary Morals, released from Patasola Press, NY, in June 2011. Her stories and essays have appeared or will soon be appearing in print and online at  The Paris Review, The Missouri Review, Diagram, StoryQuarterly, McSweeney’s, New World Writing, Gargoyle Magazine, and Redivider, among other publications and have been nominated for the Pen/Hemingway, Pen Emerging Writers, &NOW Award and Pushcart Prize. She has won awards in fiction from Whidbey Writers and The Johns Hopkins University as well as fellowships from the VCCA and Hopkins to write, study and teach in Florence, Italy. She earned a Masters in Writing from Hopkins where she continues to teach creative writing and is editor in chief of The Doctor T. J. Eckleburg Review. She has also taught in the International Writing Program at The University of Iowa. Rae is the director of The Eckleburg Workshops. She has a Bachelors in Humanities from Penn State with a concentration in Eduction and English Literature and minors in Art, History and Philosophy. In addition to her Masters in Writing from Johns Hopkins, she completed graduate coursework in Curriculum and Administration at Penn State. She has been teaching and lecturing for over twenty years in campus classrooms and at writing conferences. Rae is a member of VIDA: Women in Literary Arts, AWP, NBCC, CLMP and Johns Hopkins Alumni Association and is represented by Jennifer Carlson of Dunow, Carlson and Lerner.

Submit your manuscript to Rae for individualized editorial feedback.

Why Online Writing Workshops?

Online writing workshops present the best of both worlds for creative writers: creative isolation and craft interaction. The New Yorker article by Louis Menand, “Show or Tell: Should Creative Writing be Taught?” proposes the perennial question of whether or not writers can be taught or must be born. Our stance at The Eckleburg Workshops is that writers can be shown many craft writing skills and be encouraged to explore voice through the practice of these skills as well as the observation of these skills in both master and developing narratives. It is our stance that creative writing can be sculpted and nurtured and is best taught by published authors and experienced writing teachers. This is what we give you in each and every writing course and in our One on One individualized manuscript sessions. Submit your manuscript for individualized editorial feedback

The Undead Workshop: Coming Soon…

We will read and view excerpts of undead works such as Zombie Survival GuideWorld War ZPride, Prejudice and ZombiesDay of the DeadThe Walking Dead and more. We will also use some of my favorite writing and craft techniques tailored to bringing out the best in your character-based fiction.

Writing Goals

  • To identify, read and view exemplary works of the undead as foundational studies to creating your own;
  • To generate new drafts of work with a focus on the undead and dystopia settings with a focus on character-based narrative and detailed setting;
  • To provide critical feedback on work so you can revise and make it as strong as it can be;
  • To help you further strengthen your knowledge of form and to provide you with the environment to better understand your individual voice so you can apply this to future works;
  • To help you learn and improve on the techniques of writing and self-editing so that you are aware of your preferred forms and boundaries and be able to consider how you might push your preferred forms into your best craft.

 

The Short Story Workshop

Short Story Workshop

short story

In the Short Story Workshop, we will study what constructs the world of the short story: pain, happiness, fear, love, desire, anger, and menace. You will write your characters, settings and scenes with a focus on your organic voice and style. This workshop is for character-focused craft and storytellers. Our focus will be on narratives that grip and immerse readers at an unflinching level while understanding the differences between what is essential and what is gratuitous. With a focus on scene work and how to build a short story through the nucleus of the scene, writers will explore their organic voices and styles. Join us and improve your craft as the weeks progress by giving and receiving feedback, the cornerstone of exploring your own strengths, needs and preferences.

In many of the below lessons, we encourage you to use short stories and scenes you’ve already created. If you would like to create a new short stories and scenes first, please explore at our 30 Stories in 30 Days Workshop, where you can pick and choose writing prompts.

Short Story Writing Goals

    • To read a variety of scenes from contemporary short stories and examine the fiction techniques used by short story writers to engage readers;
    • To generate drafts of prose scenes with compelling characters and narrative tension, scenes that you may want to later develop into complete stories;
    • To explore tone, tension, catharsis, humor, poetic language and more within the short story form;
    • To excavate personal essays for organic scene material;
    • To receive feedback on your writing so that you can accomplish your objectives for scenes and be better prepared to revise your work to make it the best it can be;
    • To strengthen your writing craft by honing your analytical skills and providing constructive feedback on others’ work;
    • To help you further strengthen your knowledge of narrative forms and to provide you with the environment to better understand your individual voice so that you can apply this to future works;
    • To help you learn writing skills and improve your craft so that you are better equipped to edit your own work as you continue to write scenes, complete short stories and submit your work for publication.

Suggested Short Story Resources

The Age of Insight: The Quest to Understand the Unconscious in Art, Mind, and Brain, from Vienna 1900 to the PresentEric Kandel.

A Handbook to Literature. William Harmon.

“Cogito et Histoire de la Folie.” Jacques Derrida.

Cognitive Neuropsychology Section, Laboratory of Brain and Cognition.

Eats Shoots and Leaves: The Zero Tolerance Approach to Punctuation. Lynne Truss.

The Elements of Style. William Strunk. 

New Oxford American DictionaryEdited by Angus Stevenson and Christine A. Lindberg.

The Norton Anthology of World LiteratureMartin Puchner, et al.

The Norton Introduction to PhilosophyGideon Rosen and Alex Byrne.

Woe is I: The Grammarphobe’s Guide to Better English in Plain English. Patricia T. O’Conner

Writing Fiction: A Guide to Narrative Craft. Janet Burroway, Elizabeth Stuckey-French & Ned Stuckey-French.

Writing the Other. Nisi Shawl and Cynthia Ward.

Contributing Faculty

Benjamin Schachtman’s short stories and other work have been most recently published in The Dig Boston, Confngo (UK) and The Bad Version. He received his MA in English and American Literature from NYU, and is completing his PhD in English Literature at SUNY Stony Brook. He has designed and taught writing courses – centered on sentence-level command of tone and style – for both Stony Brook and Manhattan College. He recently moved to North Carolina to continue work on his next novel; his debut manuscript is being represented by the Alice Speilberg Literary Agency. He is the fiction editor and Sergeant at Arms for Anobium Literary. Visit him at Anobiumlit.com and BenjaminSchachtman.com. 

Kristen Clanton was born and raised in Tampa, Florida, where she currently works as a professor of English and writing and welder’s apprentice. She graduated from the University of Nebraska with an MFA in poetry. Her poetry and short stories have been published in the Bicycle Review, Burlesque Press, MadHat Drive-By Book Reviews, MadHat Lit, Midnight Circus, Ragazine.cc, and Sugar House Review. She also has a story in the upcoming issue of The Outrider Review.

Jonathan Danielson is a frequent contributor to the Canadian National Magazine award-winning Feathertale Review. His short stories and other work have appeared in The Saturday Evening Post, Juked, Superstition Review, Southern California Review, Five Quarterly, Monday Night, Gravel, Santa Fe Writers Project, South85, Fiction on the Web, Paris Lit Up, Black Hill Press, and others. He is a graduate of University of San Francisco and Arizona State University, and worked as part of the editorial process for the East Valley Tribune, Flatmancrooked, Nouvella, and Kimberly Cameron and Associates Literary Agency. He currently teaches writing at Arizona State University and is an Assistant Fiction Editor for Able Muse.

Barbara Westwood Diehl is the founding and managing editor of The Baltimore Review. She has an M.A. in Writing from Johns Hopkins University (fiction and poetry) and works for the Johns Hopkins School of Public Health. Her short stories and poems have been published or accepted for publication in a variety of publications, including Atticus Review MacGuffin, Confrontation, Rosebud, JMWW, Potomac Review, American Poetry Journal, Measure, Little Patuxent Review, SmokeLong Quarterly, Gargoyle, Superstition Review, Word Riot, and Ellery Queen Mystery Magazine.

Rae BryantRae Bryant is the author of the short story collection, The Indefinite State of Imaginary Morals. Her fiction, prose-poetry and essays have appeared in print and online at The Paris Review, The Missouri Review, Diagram, StoryQuarterly, McSweeney’s, New World Writing, Gargoyle Magazine, and Redivider, among other publications and have been nominated for the Pen/Hemingway, Pen Emerging Writers, &NOW Award and Pushcart Prize. She has won awards in fiction from Whidbey Writers and The Johns Hopkins University. She earned a Masters in Writing from Hopkins where she continues to teach creative writing and is editor in chief of The Doctor T. J. Eckleburg Review. She has also taught in the International Writing Program at The University of Iowa. She is represented by Jennifer Carlson of Dunow, Carlson and Lerner.