Archive for the ‘Master Class in Popular Fiction’ Category

WAIT! Can it be? A fourth class in the wildly popular series of Grub Street classes that combine the best of literary fiction techniques with the punch of genre storytelling? Yes, IT IS! In this newest instalment of Michael Marano’s “Smart Page-Turner” sequence taught at Boston’s Grub Street, you will receive serious hands-on instruction from a multi-award-winning novelist and nationally syndicated critic that will not only infuse your genre fiction with literary gravitas, but that will also infuse your literary fiction with the readability and popular appeal of fiction genres such as thrillers, mysteries, Science Fiction and Fantasy, erotica, adventure, etc. Classes will include writing exercises and workshopping of students’ fiction. Specific topics are outlined below on a week-by-week basis. This class expands on topics covered in Grub’s “Writing the Smart-Page Turner”, “The Smart Page-Turner Strikes Back!” and “Revenge of the Smart Page-Turner”, but is open to all. Recommended for those with previous workshop experience.

Where? At Grub Street’s Downtown Boston HQ, right by Park Street Station on the Red Line and Downtown Crossing, 162 Boylston St #5, Boston, MA 02116

Who?   https://grubstreet.org/about/who-we-are/faculty/#MichaelMarano

Michael Marano is a horror and dark science fiction writer whose first novel, Dawn Song, won the Bram Stoker and International Horror Guild Awards. Stories From the Plague Years, a collection of Marano’s new and reprinted short fiction, was named one of the Top Ten Horror Publications of 2011 by Booklist. His supernatural crime novella “Displacement” was nominated for a 2011 Shirley Jackson Award. Stories From the Plague Years was reprinted in 2012 by ChiZine Publications of Toronto, who also reprinted Dawn Song in 2014, which will be followed by two sequels, A Choir of Exiles and Winter Requiem.

Since 1990, he has also been reviewing movies for the Public Radio Satellite System program Movie Magazine International. Mike’s pop culture commentary has appeared in many national publications. Marano is also a beginning circus performer, developing and choreographing narrative aerial pieces for the trapeze and lyra based on the works of J.G. Ballard and Philip K. Dick.

 

When? 10 Thursdays from 10:30am-1:30pm, starting September 7th, 2017

How? Enroll here! SCHOLARSHIPS ARE AVAILABLE! https://grubstreet.org/findaclass/class/the-smart-page-turner-reloaded/

OUTLINE OF THE CLASS

Week 1. Creating Suspense and Tension

What the hell is suspense? What the hell is tension? How are they different? How do they compliment each other? What are their components? We’ll dive in and examine strategies for creating suspense and tension in genre and non-genre contexts.

Materials: Daphne du Maurier’s Rebecca; Tracy Letts’ play Killer Joe; one of Lee Child’s Jack Reacher novels.

Week 2. Using All Five Senses

Ever read something that’s just blah, because the author is only using sight and sound to tell a story? You have FIVE senses… so why not harness them all for your fiction?

Materials: Patrick Süskind, Perfume; Elizabeth Kata, A Patch of Blue.

Week 3.  Stealing the Storytelling Techniques of Writers for Stage, Screen and TV, Part 1–“Tapping Real Life”

Some of the best storytelling created today is being written for performed media. We’ll look at how these techniques can be applied to prose fiction. First up, creating “Slice of Life” moments…when there’s this thing that happened… and you really want to write about it in a dramatic way. How do you take a “slice of life” that everybody can relate to, and still make it interesting and compelling? How do you avoid the dreaded, “Yeah, so?”

Materials: Emmy winners Judd Apatow and Michael White’s teleplays for the high school comedy/drama Freaks and Geeks and parts of renowned theater director Peter Brook’s essay “The Open Door.” A short story or two by Bonnie Jo Campbell

Week 4. Stealing the Storytelling Techniques of Writers for Stage, Screen and TV, Part 2– “Using Place and Time to Define Drama”

Drama and conflict and personal growth can’t exist in a vacuum. We’ll look at the specific ways the time and place of your story can and maybe should define its emotional impact and arc.

Materials: Emmy-winners Matthew Weiner & Robin Veith’s teleplay for the Mad Men episode, “THE WHEEL” and either Greg Mottola’s Independent Spirit Award-nominated script for Adventureland.

Week 5. Stealing the Storytelling Techniques of Writers for Stage, Screen and TV, Part 3–“Creating Personal Conflicts”

 Ever find yourself amazed at how some playwrights can just have a few people in a room, and the emotional results are like a UFC Cage Match? We’ll breakdown how they do that.

Materials Nobel-winner Harold Pinter’s play, The Homecoming and Pulitzer Prize-winner Jason Miller’s play, That Championship Season.

Week 6. Using Stanislavsky to Create Characters

Actors have a whole bunch of great tools to get into character’s heads. So… why can’t authors use those tools, too?

Materials: Kazuo Ishiguro, Remains of the Day or Never Let Me Go; Thomas Harris, Silence of the Lambs

Week 7. Using Setting, Part 1, The City

To really use an urban setting, even to in a work of realism, you have to tap a really unique sense of the unreal. Poets like Baudelaire and TS Eliot figured this out. And so have a few really great prose authors.

Peter Straub, “A Short Guide to the City”; Hubert Selby, Last Exit to Brooklyn or The Demon, Vera Caspary, Laura, Dorothy B. Hughes, In a Lonely Place

Week 8. Using Setting, Part 2, The Wilderness.

When you have characters in the wilderness, the real struggle isn’t always with the external wilderness, but the inner one. We’ll look at ways to tap that struggle.

Robert B. Parker, Wilderness; Bonnie Jo Campbell “Bringing Home the Bones”

Week 9. Satire and Hyperbole

When you take something emotionally real and blow it up, you’re using the same tool that humorists use, even when you’re not writing about something particularly funny. We’ll look at the ways that satire and hyperbole can be used to be funny and tragic.

Rod Serling and Michael Wilson, Planet of the Apes; Evelyn Waugh, The Loved One; a short story by P. G. Wodehouse; John Le Carre, Tinker, Tailor, Soldier, Spy;

Week 10. Catch Up, Loose Ends and Review

 

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Hey, Folks!

After some brainstorming on the part of Grub Street and myself, the core of what I’d previous mentioned would be my Master Class in Pop Fiction has been re-tooled into a new Level II, Intermediate class called… The Smart Page-Turner RELOADED! Students no longer have to apply to the class, as they would for a master-level class.

The Official Grub Listing is here:

http://tinyurl.com/3ctj92f

Cost is $430 for Grub Members, $455.00 for Non-Members. Registration deadline is September 15, 2011. Class will meet for 10 Mondays from 6:30-9:30pm at Grub Street headquarters. Begins September 19th.

Below is a tentative list of topics and readings; there’s a lot more material here than will be assigned, but these are the things I’m thinking about. I’ll be making final decisions soon. Some works will make the final cut. Some won’t. But here’s the lay of the land as it exists right now. For the most part, we’ll be reading the first few opening chapters (or scenes, in the case of plays or screenplays) of longer, full-length works.

We’ll be reading Daphne du Maurier’s Rebecca in its entirety, so if you want to sign up, track down a copy or get it out of the library.

1. Writing with Purpose

Ever find yourself reading something written by an author who just doesn’t feel involved or invested in his or her work? We’ll look at writers who really know how to sink their teeth into their material, and find ways to emulate their focus and intent.

A short story by Robert E. Howard (don’t know which one, yet!); Rex Miller, Slob; Daphne du Maurier Rebecca

2.Suspense and Tension

What the hell is suspense? What the hell is tension? We’re told they’re important to maintain. But what are they made of? What are their components? We’ll take a look.

Daphne du Maurier Rebecca (con’t); Tracy Letts’ play BUG; one of Lee Child’s Reacher novels; Mark Boal’s screenplay for The Hurt Locker

3. What’s NOT Said

What we’re going to look at here is how some writers are really good at communicating dumptrucks full of emotional information by what is not said, through their ability to decide what their characters are holding back or are saying ambiguously.

Daphne du Maurier Rebecca (con’t); David Mamet, Oleanna; John Patrick Shanley’s play and screenplay Doubt; Judith Guest, Ordinary People and Alvin Sargent & Nancy Dowd’s screenplay for the film, Ordinary People.

4. Satire and Hyperbole

When you take something emotionally real and blow it up, you’re using the same tool that humorists use, even when you’re not writing about something particularly funny. We’ll look at the ways that satire and hyperbole can be used to be funny and tragic.

Rod Serling and Michael Wilson, Planet of the Apes; Evelyn Waugh, The Loved One; a short story by P. G. Wodehouse; John Le Carre, Tinker, Tailor, Soldier, Spy; Russell Braddon, The Year of the Angry Rabbit.

5. Pacing

What?! There’s a freakin’ asteroid heading to downtown Los Angeles, and this author decides to hobble the flow by throwing in a love scene? NO! We’ll look at ways to keep the action and the narrative moving.

David Morrell, First Blood or The Totem; Ian Fleming, Casino Royale, or From Russia, with Love or Live and Let Die.

6. Using Stanislavsky

Actors have a whole bunch of great tools to get into character’s heads. So… why can’t authors use those tools, too?

Kazuo Ishiguro, Remains of the Day or Never Let Me Go; Thomas Harris, Silence of the Lambs.

7. The Unreal City

To really use an urban setting, even to use it in a work of realism, you have to tap a really unique sense of the unreal. Poets like Baudelaire and TS Eliot figured this out. And so have a few really great prose authors.

Peter Straub, “A Short Guide to the City”; Hubert Selby, Last Exit to Brooklyn or The Demon; Thomas Harris, Silence of the Lambs (con’t).

8. The Wilderness

When you have characters in the wilderness, the real struggle isn’t always with the external wilderness, but the inner one. We’ll look at ways to tap that struggle.

Robert B. Parker, Wilderness; Michael Chricton, Jurassic Park; Thomas Harris, Silence of the Lambs (con’t).

9. Come to Your Senses!

We live in a media environment that’s defined by sound and images coming out of screens and speakers. A lot of writers have let their other sense atrophy, so that it feels like they’re just writing screenplays in prose form. We’ll look at ways to use the other senses we have to punch up our storytelling.

Patrick Süskind, Perfume; Elizabeth Kata, A Patch of Blue.

10. Negative Space

“Negative space” is a technique filmmakers use to define something important by surrounding it with emptiness, by letting the void around the important thing in a shot give it defining shape. We’ll look at ways to use this concept in writing, to make things that are not there in the prose more important, and meaningful, than the things that are there.

Bonnie Jo Campbell, a story from her collection American Salvage; Christopher Isherwood, A Single Man.

To sign up,  contact Grub Street here: http://tinyurl.com/3ctj92f

Hi, Everyone!

Below is a tentative list of topics and readings for my upcoming Master Class in Popular Fiction at Boston’s Grub Street, which will meet for 10 Mondays at Grub Street HQ in downtown Boston from 6:30 to 9:30 starting on September 19.

There’s a lot more here than will be assigned, but these are the things I’m thinking about. I’ll be making final decisions over the next few weeks. Some works will make the final cut. Some won’t. But here’s the lay of land as it exists right now. For the most part, we’ll be reading the first few opening chapters (or scenes, in the case of plays and screenplays) of longer, full-length works.

Having said that though, we’ll be reading two novels in their entirety. One will definitely be Daphne du Maurier‘s  classic Rebecca. Then we’ll either read Thomas Harris’ Silence of the Lambs (if not in its entirety, then a good chunk of it; if you’re squeamish, you can skip the scary parts!) or Michael Crichton‘s Jurassic Park (if not in its entirety, then a good chunk of it) or one of Ian Fleming’s James Bond novels (if not in its entirety, then a good chunk of it).

1. Writing with Purpose

Ever find yourself reading something written by an author who just doesn’t feel involved or invested in his or her work? We’ll look at writers who really know how to sink their teeth into their material, and find ways to emulate their focus and intent.

A short story by Robert E. Howard (don’t know which one, yet!); Rex Miller, Slob; Daphne du Maurier Rebecca

2.Suspense and Tension

What the hell is suspense? What the hell is tension? We’re told they’re important to maintain. But what are they made of? What are their components? We’ll take a look.

Daphne du Maurier Rebecca (con’t); Tracy Letts‘ play BUG; one of Lee Child‘s Reacher novels; Mark Boal‘s screenplay for The Hurt Locker.

3. What’s NOT Said

Since this is an advanced class, we’ll assume you have some of the basics of dialogue down. What we’re going to look at here is how some writers are really good at communicating dumptrucks full of emotional information by what is not said, through their ability to decide what their characters are holding back or are saying ambiguously.

Daphne du Maurier Rebecca (con’t); David Mamet‘s play, Oleanna; John Patrick Shanley’s play and screenplay Doubt; Judith Guest, Ordinary People and Alvin Sargent & Nancy Dowd‘s screenplay for the film, Ordinary People.

4. Satire and Hyperbole

When you take something emotionally real and blow it up, you’re using the same tool that humorists use, even when you’re not writing about something particularly funny. We’ll look at the ways that satire and hyperbole can be used to be funny and tragic.

Evelyn Waugh, The Loved One; a short story by P. G. Wodehouse; John Le Carre, maybe Absolute Friends  or Tinker, Tailor, Soldier, Spy; Russell Braddon, The Year of the Angry Rabbit.

5. Pacing

What?! There’s a freakin’ asteroid heading to downtown Los Angeles, and this author decides to hobble the flow by throwing in a love scene? NO! We’ll look at ways to keep the action and the narrative moving.

David Morrell, First Blood or The Totem; Ian Fleming, Casino Royale, or From Russia, with Love or Live and Let Die.

6. Using Stanislavsky

Actors have a whole bunch of great tools to get into character’s heads. So… why can’t authors use those tools, too?

Kazuo Ishiguro, Remains of the Day or Never Let Me Go; Thomas Harris, Silence of the Lambs.

7. The Unreal City

To really use an urban setting, even to use it in a work of realism, you have to tap a really unique sense of the unreal. Poets like Baudelaire and TS Eliot figured this out. And so have a few really great prose authors.

Peter Straub, “A Short Guide to the City”; Hubert Selby, Last Exit to Brooklyn or The Demon; Thomas Harris, Silence of the Lambs (con’t).

8. The Wilderness

When you have characters in the wilderness, the real struggle isn’t always with the external wilderness, but the inner one. We’ll look at ways to tap that struggle.

Robert B. Parker, Wilderness; Michael Chricton, Jurassic Park; Thomas Harris, Silence of the Lambs (con’t).

9. Come to Your Senses!

We live in a media environment that’s defined by sound and images coming out of screens and speakers. A lot of writers have let their other sense atrophy, so that it feels like they’re just writing screenplays in prose form. We’ll look at ways to use the other senses we have to punch up our storytelling.

Patrick Süskind, Perfume; Elizabeth Kata, A Patch of Blue.

10. Negative Space

“Negative space” is a technique filmmakers use to define something important by surrounding it with emptiness, by letting the void around the important thing in a shot give it defining shape. We’ll look at ways to use this concept in writing, to make things that are not there in the prose more important, and meaningful, than the things that are there.

Bonnie Jo Campbell, a story from her collection American Salvage; Christopher Isherwood, A Single Man.

To get more information about enrollment, you can check out the Grub Street page dedicated to the class here.  If you want to know about some of my teaching strategies, click here. To find out a bit more about me, click here. If you have any specific questions about the class, e-mail me directly at profmike  AT  mindspring DOT  com

Just wanted to to announce my NEW class at Boston’s Grub Street, one of the largest independent centers for creative writing in the United States. This will be officially published on the Grub Street website soon. But here’s a preview! I’ll also be publishing a more detailed overview here, soon.

Master Class in Popular Fiction

10 Mondays from 6:30-9:30pm at Grub Street headquarters in Downtown Boston, near the Park Street Subway Stop. Begins September 19th.

Description:

This class will give serious writers of short and novel-length popular fiction a versatile, practical tool-kit for adding literary dimensions to their work–be it SF, Romance, Mystery, Thriller, Satire, etc. Intended for students who are preparing or ready to submit their work professionally, the emphasis of this class, taught by an experienced editor, award-winning author and critic, will be on peer workshopping, creating viable strategies for submitting your work to the right venues, lectures and in-class exercises. Issues such as pacing and structuring of scenes will be covered. Works of smart, novel-length popular fiction will be closely examined in whole or in part in order to demonstrate ways in which specific tools taught in class can be applied. Some works of pop fiction will be examined as demonstrations of what not to do. There will also be lessons on re-purposing the story-telling techniques of playwrights, screen and television writers to prose fiction. Participation in this class is by submission only. To apply, please submit a 10-15 page novel excerpt or sample of short fiction to rowan@grubstreet.org by 12:00pm on Wednesday, August 31st.