Creative Writing: Storytelling and Improvisation at the NAG

There are still a few days left to sign up for a winter writing class at the Northfield Arts Guild.  This is your opportunity to workshop your writing with author Rebekah Frumkin, whose work was recently featured in The Best American Nonrequired Reading 2009, edited by Dave Eggers.  For a description of the classes Rebekah is offering at the NAG, and an exclusive interview with Rebekah, click "Read More."

Looking for a place to workshop your short story, poem, play, memoir, humorous pastiche? The Northfield Arts Guild is hosting a new workshop called "Creative Writing: Storytelling and Improvisation" where writers of all ages and skill levels can share their work. The class is designed to help writers fine-tune their writing in preparation for anything, whether the ultimate goal is to share it with close friends or publish it in a literary magazine. Roundtable workshopping methods as well as a good dose of improvisatory exercises (or "sudden writing" as it's sometimes called) will give writers the feedback and inspiration they need.

And don't worry if you're still in elementary school - there's a class for you too.  "Tell Your Story: Creative Writing and Improvisation for Kids" is designed for kids between the ages of 7-12 who love to write. We'll be writing stories, poems and plays (some of which we may act out), as well as doing other artistic projects to inform our writing. So bring a pen, a notebook, some action figures and some funny hats: this class will get wild.

Rebekah Frumkin is a sophomore at Carleton College. Her writing has appeared inThe Best American Nonrequired Reading 2009Post Road and Timothy McSweeney's Internet Tendency, among other places. She is a regular contributor to the Common Review, the literary magazine of Chicago's Great Books Foundation.

 


An Exclusive Interview with Rebekah Frumkin
 

Rob: Some people might ask, "Rebekah, what planet did you come from?"  You won your first writing award when you were seven, and while you were still in your teens your writing attracted the attention of Dave Eggers, who included one of your stories in Best American Nonrequired Reading 2009.  Did your parents lock you in the basement with a very large dictionary, a pencil, and a notebook when you were a little girl?  How do you explain the phenomenon of Rebekah Frumkin?

Rebekah: I got started writing because I realized I wasn't going to make it in basketball —in the second grade I'd already gotten cut from the park district team, which I was paying to play on—so I figured it was time to fall back on literary fiction as a career. It was a wise and lucrative decision; I've never regretted it once. Also, the basement-lockings really helped me hone my craft.

Rob: When you were sixteen, you told an interviewer that you had "no master plan" for your writing career.  Now that you're a wizened and world-weary twenty-year old, has that changed?  
 

Rebekah: I've decided that I'd like to try to write something longer than twenty pages, and that I'd like the title of this thing to be in Latin. I was thinking of calling the novel-to-be Prima Luce and setting it in the American southwest, but I'm not sure what I'd do with it after that. 

In all seriousness, my writing "plans," if you could call them that, haven't changed dramatically since I left high school. I still want to publish short stories in small literary magazines and write books - I guess the only real thing that's changed for me is that I don't expect to be Philip Roth or Lydia Davis right out of the gate. I'm content with being able to write readable fiction...it seems like there's nothing more rewarding in this life than being able to tell a story that's not your own as if it were. 

Rob: I happen to know that you are an extraordinarily mature and perceptive reader of other writers' work, and that students in your class at the NAG will benefit from your skill and sensitivity as a workshop leader.  Where did that ability come from?  What is your experience as a teacher and student in writing workshops?
 
Rebekah: I've never led a workshop, but I've been through the gauntlet several times. When I spent the summer at Iowa, I was placed under the tutelage of Nam Le (The Boat), who, despite being this demure-looking man who wore button-down shirts and rode his bike to work, demanded perfection of us and insisted upon the time-tested inspiration method of "typing with a whiskey in hand" (I've never tried it - the mechanics of it are too difficult for me). There is nothing, aside from line-dancing at bar mitzvahs, that unnerves me more than having to keep quiet while others are loudly critiquing my work. But I learned a lot from it—I understood that if I can be silent and not burst into tears while someone else is questioning the validity of my story, then others surely won't burst into tears when more reasonable criticisms of a work are being raised. The workshop method has its ups and downs, but I can vouch for its effectiveness when it comes to learning about how other people react to your writing. The shopworn cliche is that no one can write in a vacuum, and it's true. You've got to be around peers, and you've got to find your creative and critical voices: the former so you can produce something to be consumed, appreciated and debated-about, and the latter so you can become an intelligent and empathetic reader of others' work.
 
Rob: Is there anything else you'd like to say while you have the attention of Northfield.org?
 
Rebekah: Whether or not you sign up for a class: please, please don't hesitate to write if you want to. Really. Anyone will tell you it's incredibly difficult to do, let alone to do well, but more power to you for actually attempting this thing. David Foster Wallace, a brilliant and gifted writer, was quoted as saying the following about contemporary fiction/the writing practice: "I don't claim to have any special insights into anything that's going on." And he wrote Infinite Jest. Surely the rest of us insight-less people are capable of similar feats of genius.

 

 


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Really?!

Did you really just use "workshop" as a verb? Twice? In a story about writing?! Wow.

Facetiously,
Your friend Doug

(p.s. I actually loved this post.)

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