Developing Our Craft

Shelby Knauss Workshop

Course of Study

The daily schedule begins with morning workshops and continues in the afternoon with master classes, fellow and staff readings, craft lectures, and evening faculty readings. Each workshop consists of 12 participants and is led by two faculty members. Workshops meet five times, on alternating days, to form the core of the 12-day program. Writers also benefit from an hour-long individual meeting with a faculty member and a half-hour individual meeting with a fellow to discuss their manuscript in depth.

The 2020 workshop faculty pairings will be:

Chris Bachelder & Katie Kitamura
Adrianne Harun & Jess Walter
Randall Kenan & Jill McCorkle
Claire Messud & Jamel Brinkley
Stephanie Powell Watts & Sarah Shun-lien Bynum

Erica Dawson & Carl Phillips
Mark Jarman & A. E. Stallings
Marilyn Nelson & Monica Youn

Alexander Chee & Elena Passarello
Amitava Kumar & Aisha Sabatini Sloan

Naomi Iizuka & Dan O’Brien
Liliana Padilla & Lloyd Suh
Professional actors will assist the playwriting workshop.

In addition to workshops, daily craft lectures will delve into writing techniques and challenges. Our craft lectures will include:
- Alexander Chee, “The Stereoscopic Narrative (Story Told From Two or More POVs)
- Adrianne Harun, “The Urgency of History”
- Amitava Kumar, “‘Plot Is For Dead People But Voice-- Oh, Voice Is How You Declare You're Alive’”
- Jill McCorkle, “The Art of Ambiguity”
- Dan O’Brien, “Who Am I?: Character On Stage”
- Carl Phillips, “Making It Relevant: Literary Allusion as Prosodic and Political Strategy”
- Aisha Sabatini Sloan, “Curating the Personal Essay”
- Monica Youn, “Generative Revision: Beyond the Zero-Sum Game”

We will also offer master classes taught by faculty, visitors, and fellows. Our master classes will include:
- Jin Auh (The Wylie Agency), “From Submission to Publication-- Running Through the Nuts and Bolts of What a Debut Author May Expect, As Well As a Rough Timeline From Page to Publicity”
- Anna Lena Phillips Bell (Ecotone and Lookout Books), “Editing for Poets”
- Michelle Brower (Aevitas Creative Management), “What to Expect Once You Have an Agent”
- Sarah Burnes (The Gernert Company), “How to Write a NF Proposal”
- Mary Flinn (Blackbird), “What Small Mags Are Looking For”
- Annie Hwang (Folio Literary Management), “Anatomy of a Query: Deconstructing the Query Letter”
- Mark Jarman, “Upsetting the Sonnet”
- Allison Joseph (Crab Orchard Review), “Small But Mighty: Why Poets (and Other Writers) Should Write Chapbooks”
- Amitava Kumar, “The In-Between Novel”
- Sharrell D. Luckett, “(Re)considering inclusion and diversity with Black Acting Methods,” and “Let’s Dig In: cracking the code of Tennessee Williams’s characterization”
- Speer Morgan (The Missouri Review), “Gusto in Meaning: What this Editor Hopes for in all Three Genres”
- Carl Phillips, “A Sentence Is Not a Line Is Not a Sentence Except When It Is”
- Liz Van Hoose (5E), “The Art of the Pitch: How to Free Your Story Description from Chronology”
- Adam Vines (Birmingham Poetry Review), “Unconventional Approaches to Ekphrastic Poetry”
- Renée Zuckerbrot (Massie & McQuilkin Literary Agents), “The First Five Pages”