- 1. Gaining a basic understanding of literary history, from the ancient world to the present.
- 2. Learn linguistic and narrative devices
- 3. Learn various compositional theories
- 4. Gain a basic understanding of the complexities facing would-be authors when approaching publishers and agents.
Anyone already writing in English (or who would like start), as well as those writing in other languages who would like a new perspective on narrative and linguistic theory.
Participants should be relatively fluent in spoken and written English.
- the relationship between fiction and non-fiction writing
- sound symbolism, lexicon, and grammar
- punctuation and sentence structures: meaningful syntax
- linguistic and narrative pacing
- modifiers: utilitarian versus poetic (how, when, why)
- narrative flow and mechanics: memories and flashbacks
- perspective, including shifting between
- tense, including shifting between
- dialogue and discourse analysis
- choreographing action
The course is both practical and theoretical. About half our time is spent workshopping our texts, while the other half is spent discussing literary theory, linguistic techniques, writing strategies, and publishing trends. Some of the skills we cover are: syntax and sentence rhythm, poetic devices, descriptive language, phonetic effects, tense, and perspective.
Essays (excerpts from): “The Philosophy of Composition”, by Edgar Allen Poe (1846), “Art as Technique” by Victor Shlovsky (1917), “Modern Fiction” by Virginia Woolf (1919), Styles of Radical Will by Susan Sontag. Fiction (excerpts from): A Christmas Carol and Bleak House by Charles Dickens, Monday or Tuesday by Virginia Woolf, Dhalgren by Samuel R. Delany, The Pale King: An Unfinished Novel by David Foster Wallace, The Room by Harold Pinter, Maps for Lost Lovers by Nadeem Aslam.
We follow the recommendations and instructions issued by the Public Health Agency of Sweden to minimize the spread of infection. This means we have been using the agency’s risk assessment tool for events and gatherings to evaluate possible risks and enable appropriate precautions. Generally speaking, this involves being very careful with hygiene and encouraging course participants to wash their hands thoroughly and regularly. We ensure a high level of cleanliness in toilets. We also adjust group sizes so that course participants are not too close to each other. In addition, if you show any symptoms of Coronavirus (fever, coughing - please see 1177 Vårdguiden for more information), even mild symptoms, you should refrain from attending your course. In order to ensure that we are up to date on any new recommendations from the Public Health Agency, we will make a final decision on whether the course will take place no sooner than 1-2 weeks before the course starts.
Kevin Frato is a writer, editor and teacher from Ohio, USA, who has lived in Stockholm since 1998. He is the author of the bilingual novel Numera negerkung (King of the Cannibals, Kabusa 2009), and was initiator and co-author of Avståndet mellan, a collective story-cycle involving two dozen authors from Sweden, Norway, and the US (X Publishing 2012). He has also published works with Myrios Novellförlag and Natur och Kultur.
Kevin Frato teaches Prosa at Skrivarlinjen, and creative writing courses in English at Skrivarakademin.
Kevin Frato is a writer, editor and teacher from Ohio, USA, who has lived in Stockholm since 1998. His bilingual novel Numera negerkung (King of the Cannibals) was published in 2009. He is the initiator and co-author of Avståndet mellan, a collective story-cycle involving two dozen authors from Sweden, Norway, and the US which was released in 2012.
Har du frågor?
Kontakta Kundtjänst i Stockholm