—A.S. Byatt, The Children's Book
(For the Petaluma Master Craft Fiction Workshop Click Here)
Both Sebastopol and Petaluma Read to Write workshops are now full. You may email marketing@copperfieldsbooks.com to get on a wait list or to hear about future workshops.
A nine-part course for writers who read, readers who write, and book lovers who want to read like a writer.
The "Read to Write" workshop utilizes a specialized reading selection list for the 9-part course format. Participants will study masterful writing, incubate the lessons, and use their expanded knowledge to read more closely and write more skillfully. Presenter Christine Walker has written three novels and holds an MFA in Writing & Literature from Bennington College.
Workshop Format: Nine two-hour sessions.
Sebastopol: First Saturday of the Month, 10:15 am - 12:15 pm
Each course is limited to 15 participants. The fee is $180.
Christine Walker conceived this course as a way for writers and readers to build literary community while supporting their local, independent bookstore. Her lively workshops reveal and stimulate creative process, offer useful tools and techniques, and animate intentions. If writers and trusted readers form enduring relationships during the course— all the better!
She is the author and artist of A Painter’s Garden: Cultivating the Creative Life (Warner Books) and the co-author and illustrator of Wooleycat’s Musical Theater (Tortuga Press). She holds an MFA in Writing & Literature in Fiction from Bennington College, an MA in Interdisciplinary Creative Arts from San Francisco State University, and a BFA from the University of Kansas. She lives in Sebastopol.
Writing is a solitary act with a communal spirit among writers and readers. To become accomplished, writers benefit by studying authors who’ve honed the craft techniques and nuances of fine fiction. In this course, participants will examine masterful writing, incubate the lessons, and use expanded knowledge to read more closely and write more skillfully.
In Christine’s two-year MFA program, the promise was fulfilled: “Read one hundred books. Write one.” In this nine-month course, a shorter book list will step participants through crucial concerns of long-form writing.
Writers wanting to move their projects to the next level—whether to draft, revise, cohere, or polish—will be shown tools and methods to do so. The course will help bring fullness to works in progress—novels, story collections, narrative nonfiction, memoir. Fellow writers and book lovers will inspire and encourage one another.
What makes fine fiction? How or why did that author do that? We’ll delve in with authors who enrich our writing and reading journeys. Participants are asked to focus on a book from each month’s list and be prepared to share discoveries. Christine will demonstrate visual, hands-on techniques and tools that she uses when writing and will suggest optional hands-on homework activities for participants wanting to further enhance their writing craft or literature appreciation.
Each session will combine book and craft discussion with voluntary reading aloud of passages from annotations and writing projects and voluntary sharing of homework activities. The course structure prompts participants to write outside of class, as suits their project goals and craft concerns, but class time will not be devoted to free writes or personal writing. The workshop is not designed as a critique group, but participants may request thoughtful comments and questions on the passages that they read aloud.
The nine sessions will cover craft concerns based on reading selections.
Note: For first session, please prepare by reading any of the March selections from the book list below. Also, please bring first and last paragraphs from favorite books for investigation. If you’d like to share first sentences from your own writing or initial sentences (story seeds) that inspired a project, even if they’ve been discarded or altered in revision, please bring those.
Examine first and last sentences that successfully set up, complete, and resonate within the story. What do those first words promise? In what ways do last words glance back or look beyond? How do words and images germinate a story?
Hands-on suggestion for March: Put a first sentence on parade and identify what instrument of story delivery each word plays.
Listen to and learn from your narrator or narrators. Who tells the story and how? What does distinctive voice have to do with style?
Hands-on suggestion for May: Write a scene two or more ways using different points of view and/or voice, or bring passages from books with contrasting points of view and voice.
Care about your characters. How do writers make invented people come alive on the page? How much do you need to know about a character as a reader or as a writer?
Hands-on suggestion for June: Create characters scrapbooks and other prompts to inform character development.
Ground the story. How do writers establish a felt sense of inhabited place? Can you picture where your characters live? Does place serve as character?
Hands-on suggestion for July: Map a story’s environment and/or architecture.
Entice readers to turn the page. What is tension? How does it relate to plot? How, when and where do masterful writers weave it in and make it pay off for readers?
Hands-on suggestion for August: Graph a story’s high and low tension points.
Expand and compress time, pick up or slow down the pace. How does a book that engages readers for only several hours give them the experience of time, whether the story spans a day or decades?
Hands-on suggestion for September: Track the baton relay of time and consciousness in a story.
Get second-hand emotions to first base. What’s love got to do with it? Explore the purposes and limits of the popular writer’s maxim: "Show, don’t tell."
Hands-on suggestion for October: Create a graphic storyboard of a love scene or emotional passage.
Make the fabulous real and the real felt. How do writers paint vivid impressions with words to enliven narrative and awaken readers’ senses?
Hands-on suggestion for November: Find or create images that encapsulate aspects of a story.
Draw it all together. How does an author integrate big ideas and intentions into his or her story without overpowering it?
Hands-on suggestion forever: Continue a deep engagement in literature.
Focus on one book or portions of a book each month. As the workshops progress, participants may suggest books for the list that illuminate topics scheduled for discussion. With an annotative approach, rather than a book report approach, we will explore and contrast specific craft concerns within several books. Our individual literary investigations will cross-pollinate for hybrid thinking among the group. The nine sessions will cover these reading selections:
"I had a farm in Africa, at the foot of the Ngong Hills."
Out of Africa by Isak Dinesen
The Quiet American by Graham Greene
Disgrace by J.M. Coetzee
The Awakening by Kate Chopin
Crossing to Safety by Wallace Stegner
Selected Stories by Alice Munro
"Richard Parker, can you believe what happened to us? Tell me it’s a bad dream. Tell me it’s not real."
Life of Pi by Yann Martel
Don Quixote by Miguel Cervantes
Heart of Darkness by Joseph Conrad
Vanity Fair by William Thackeray
Joy Luck Club by Amy Tan
The Middleman and Other Stories by Baharati Murkherjee
To Kill a Mockingbird by Harper Lee
Bell Canto by Ann Patchett
"Cosimo climbed up to the fork of a big branch where he could settle comfortably and sat himself own there, his legs dangling, his arms crossed with hands tucked under his elbows, his head buried in his shoulders, his tricorne hat tilted over his forehead."
Baron in the Trees by Italo Calvino
The Things They Carried by Tim O’Brien
Our Ancestors: Eleven Kinds of Loneliness by Richard Yates
How to Make an American Quilt by Whitney Otto
The Country Life by Rachel Cusk
To the Lighthouse and Mrs. Dalloway by Virginia Woolf
"For the Lighthouse has become almost invisible, had melted away into a blue haze, and the effort of looking at it and the effort of thinking of him landing there, which both seemed to be one and the same effort, had stretched her body and mind to the utmost."
To the Lighthouse
Housekeeping by Marilynne Robinson
Of the Farm & Pigeon Feathers
To Kill a Mockingbird by Harper Lee
Dubliners by James Joyce
"He has never been seen in the company of a girl on the factory premises, nor anywhere in the immediate neighborhood. Nothing like that on your own doorstep is the rule he has."
Felicia’s Journey by William Trevor
The Talented Mr. Ripley by Patricia Highsmith
To Kill a Mockingbird by Harper Lee
Days of Abandonment by Elena Ferrante
"Though sometimes in my brain I go back to that afternoon, to relive it, sail up there again toward the acoustic panels, the basketball hoops, and the old oak clock, the careful harmonies set loose from our voices so pure and exact and light we wondered later, packing up to leave, how high and fast and far they had gone."
Who Will Run the Frog Hospital? by Lorrie Moore
Down in Darkness by William Styron
Larry’s Party by Carol Shields
A Country Life by Rachel Cusk
Mrs. Dalloway and To the Lighthouse by Virginia Woolf
Bel Canto by Ann Patchett
"This sound seemed to enter him, pierce him down his length so that his whole body opened up and he was able to step out of himself and kiss her freely."
Atonement by Ian McEwan
Jasmine by Baharati Mukherjee
Selected Stories by Alice Munro
Lolita by Vladimir Nabokov
A Passage to India by E.M Forster
Bell Canto by Ann Patchett
"I have never seen anything like it: two little discs of glass suspended in front of his eyes in loops of wire. Is he blind?"
Waiting for the Barbarians by J.M Coetzee
A Good Man Is Hard to Find by Flannery O’Connor
Life of Pi by Yann Martel
Invisible Cities and Our Ancestors: Baron in the Trees by Italo Calvino
Crime and Punishment by Fyodor Dostoevsky
"One is constantly wondering what sort of lives other people lead, and how they take things."
Middlemarch by George Eliot
Passage to India by E.M. Forster
Age of Innocence by Edith Wharton
Waiting for the Barbarians by J.M Coetzee
Human Stain by Philip Roth
To Kill a Mockingbird by Harper Lee
Fee: $180 for the nine-session series
Book discount: A 20% book discount for reading list purchases is given to all participants. Once registered for the workshop you will receive information on accessing your discount.