NYU Creative Writing Program
Lillian Vernon Creative Writers House
Course:
Intermediate Fiction Workshop, CRWRI-UA.816.003 (Spring 2016)
Instructor:
Email:
Mohammed Naseehu Ali
mna1@nyu.edu
Time:
Monday 6:20pm – 9:05pm
Location:
BOBST, Room 837
Office Hours: 4:30pm - 6pm, at Writers House, Office # 314
Course Description
In this intermediate fiction workshop, the primary focus will be on your writing. Most of
the class time will be dedicated to discussing your work and exchanging critiques and
ideas on how to improve upon a draft and also your writing skills in general. Through
in/out-of-class writings, assigned readings and workshop stories, class discussions and
presentations, we will examine the structure of the short story and the novel, as well as
the basic elements of fiction such as characterization, dialogue, plot, tone, setting, theme,
and viewpoint. Additionally, we will be taking an in-depth look at form and style, the
role of humor in fiction, and lastly, the fundamental grammar and language of fiction
writing.
The secondary focus of this workshop will be on you, the writer.
George Orwell once wrote that “there are four great motives for writing,” which he listed
as sheer egoism, aesthetic enthusiasm, historical impulse, and political purpose. In 1980,
another writer of lesser fame than Orwell, Arturo Vivante, also wrote: “One writes fiction
in order to know.” Using the above quotations as springboard for a class symposium, we
will be asking ourselves two questions: (1) why do we write? And (2) why write fiction
in particular? During the first two weeks students will be encouraged to carry out a
personal analysis of what motivates, inspires, or informs their writing. The goal of this
exercise is to assist students in their continued effort to develop an original voice,
language, and style that are unique to their personal aesthetics.
And finally the fun part: we will discuss the use of eavesdropping as a writing tool. In
my opinion, eavesdropping is the surest means for writers to put their fingers on the pulse
of their contemporary environment. Some may disagree and may even think of this “art”
as unethical. This and other topics will keep us busy and engaged throughout the
semester.
READING LIST
Stories
The Catbird Seat, James Thurber
The Washwoman, Isaac Bashevis Singer
Aguantando, Junot Diaz
Bogart, V. S. Naipul
The Thing Without a Name, V. S. Naipul
The Very Old Man with Enormous Wings, Gabriel Garcia Marquez
The Handsomest Drowned Man in the World, Gabriel Garcia Marquez
Alyosha The Pot, Leo Tolstoy
The Lament, Anton Checkov
Demonology, Rick Moody
First Confession, Frank O’Connor
Blues Ain’t No Mockin Bird, Toni Cade Bambara
Enormous Radio, John Cheever
The Lighthouse, Arturo Vivante
In The Cemetery Where Al Jolson Is Buried, Amy Hempel
The Lottery, Shirley Jackson
Nawabdin Electrician, Daniyal Mueenuddin
Shiloh, Bobbie Ann Mason
A Tree Of Night, Truman Capote
Essays
Why I Write – George Orwell
Writing Fiction – Arturo Vivante
NOTE: All assigned stories and essays will be compiled into a course reader, which can
be purchased through the New University Copy Center at 27 Waverly Place.
About the Workshop
You should be prepared to do a decent amount of reading—at least one assigned short
story a week, in addition to the week’s workshop stories. As you can tell from the above
list, you will read a wide range of short stories, from the old classics to the contemporary
ones, to highlight the critical areas in your writing that need improvement.
You will be expected to write two original short stories or two novel chapters. For the
semester’s final project, you are required to turn in a 12 – 15 double-paged revision of the
piece that represents your best effort during the session.
Workshop Etiquette
A workshop is all about the work, the writing, and not about its participants—why it is
called workshop and not personalityshop. In this workshop your criticism must be
constructive, and all comments must be about the story and not its writer, even if the
material is autobiographical. The golden rule, therefore, is: treat your colleagues and
their work as you would like you and your work to be treated. With respect, and also,
with the sole aim of helping them improve their work and writing skills.
Attendance
Because we meet only once a week, it is critical that you show up every week. Besides,
it is only fair and respectful to be present when other students have their stories
workshopped. You must notify me ahead of time if you must miss a class; failure to do
so (in addition to providing a note from a physician or the dean) will be recorded as an
unexcused absence.
Plagiarism
NYU takes plagiarism very seriously, and as an instructor I am required to report any
case of suspected plagiarism to the department chair. The repercussions to your grade and
personal and artistic reputation is simply not worth the risk. Just don’t do it.
Grades
Class participation and your critical response to assigned reading and workshop stories
will carry 50% of your grade. 20% will be for your two writing assignments, and
remaining 30% will go toward your workshop stories, including the revised piece for
your portfolio. Note that unexcused absences and chronic lateness will also affect your
final grade in a negative manner.
Student Participation
Each student will be expected to lead class discussion for one workshop story.
Literary Events
Students will be expected to attend at least one event from the NYU Reading Series
during the semester.
Syllabus
1/25
Introductions – Class and Course
Why I Write, George Orwell
Why Write Fiction?, Arturo Vivante
Assignment 1: Write a 2 to 4-paged essay about why you write—due 2/1
2/1
The Catbird Seat, James Thurber
The Washwoman, Isaac Bashevis Singer
In-Class Reading: Why I Write/Why Write Fiction Assignment
2/8
Workshop I
Aguantando, Junot Diaz
Bogart, V. S. Naipul
The Thing Without a Name, V. S. Naipul
2/15
Presidents’ Holiday - No Classes
2/22
Workshop I
The Handsomest Drowned Man in the World, Gabriel Garcia Marquez
A Very Old Man with Enormous Wings, Gabriel Garcia Marquez
Alyosha The Pot, Leo Tolstoy
2/29
Workshop I
The Lament, Anton Checkov
Demonology, Rick Moody
3/7
Workshop I
Half Day - Field Writing: Eavesdropping Assignment
Assignment 2: Eavesdropping Assignment—due 3/21
Write a 3 to 5-paged story based on an eavesdropped conversation.
3/14
Spring Break - No Class
3/21
In-class Reading: Eavesdropping Assignment
Enormous Radio, John Cheever
3/28
Workshop I
First Confession, Frank O’Connor
Blues Ain’t No Mockin Bird, Toni Cade Bambara
4/4
Workshop II
The Lighthouse, Arturo Vivante
In The Cemetery Where Al Jolson Is Buried, Amy Hempel
4/11
Workshop II
The Lottery, Shirley Jackson
4/18
Workshop II
Nawabdin Electrician, Daniyal Mueenuddin
4/25
Workshop II
Shiloh, Bobbie Ann Mason
5/2
Workshop II
A Tree of Night, Truman Capote
Final Project Submission, no exceptions.
5/9
Open Mic – final class
All portfolios returned to students.
* * *