See also:
Fiction Writing Intensive
Up next:
Level II Options
Fiction Writing I

Fiction Writing I is a 10-week workshop, which includes lectures, exercises, and the critiquing of student projects. It’s for beginners or anyone who wants to brush up on the fundamentals. Farther down, you can view a syllabus for this course.

Also consider Gotham’s premium Zoetrope Fiction Writing classes: Zoetrope Fiction I or Zoetrope Fiction II.

Fiction is a wonderful conjuring act. With only words and the reader’s imagination, a work of fiction can sail across the world in pursuit of a whale, or time-travel to another dimension, or zero in on a few minutes in line at the local bank, enveloping the reader in a made-up story that feels real.

To pull off this feat requires a balance of craftsmanship, daring, and insight into human nature. Here you’ll learn the time-tested elements of fiction craft and how to market your work.

Whether you seek to write short stories or novels; commercial, literary, or genre; comic or tragic, we’ll show you how to spin your thoughts into believable and spellbinding tales.

About Fiction Writing
Fiction Writing I

If you want to feel encouraged to write, put yourself out there and sign up for a Gotham class.

Colleen Dougherty Bronstein

artist/metalsmith

Notes

Fiction I encompasses short stories and novels. After Level I, students have a choice of Short Fiction Writing II (focusing on short stories), or Novel II Critique or Novel II First Draft (focusing on novels).

If you’re working on “genre” fiction, you may take either a Fiction/Novel course or one of our genre courses: Science Fiction & Fantasy, Romance, Mystery.

If you’re working on a YA novel, you may take a Fiction/Novel or “genre” course, or you may take a Children’s Book course, where the full spectrum of children’s books will be covered.

Upcoming Classes NYC COVID Info

To ensure everyone's good health, students in NYC classes must provide proof of full Covid vaccinations (the initial series of Covid vaccines plus at least one booster). We will accept your Covid vaccine card (or a digital scan), a NY State Excelsior digital card, or another form of government-approved proof. We will contact you before class begins about showing us proof. Masks are encouraged, but not required. We'll provide masks for those who need them.

More Covid details

Price

Registration fee $25, paid once per term

See Payment Options

To register for a 10-Week course, you need to pay in full to guarantee your place in class. Or you can pay a $95 deposit plus a $25 registration fee (total $120) to temporarily hold your place, but tuition must be paid in full 10 business days before your class starts or you risk losing your spot.

10-Week

Syllabus

This course gives you a firm grounding in the basics of fiction craft and gets you writing a short story (or two) or a novel. Course components:
     Lectures
     Writing exercises
     Workshopping of student projects (each student presenting work two times)

New York City/Zoom classes
The syllabus varies from teacher to teacher, term to term. Many topics will be similar to those covered in the Online classes.

Online classes 
Week 1
Introduction to Fiction: The different types and forms of fiction. Where to find inspiration and ideas. The importance of craft.

Week 2
Character: Where to find characters. Making characters dimensional through desire and contrasts. Creating character profiles. Showing vs. Telling. Methods for showing characters. 

Week 3
Plot: Finding a major dramatic question. Shaping a beginning, middle, and end. The difference between short story and novel plots. Pros and cons of outlining. 

Week 4
Point of View: POV defined. Exploration of the many types of POV. 

Week 5
Description: Using the senses. Specificity. Techniques for creativity. Finding the right words. Merging description with point of view. 

Week 6
Dialogue: The importance of scene. Dialogue's illusion of reality. Quotation marks and tags. Stage directions. Summarized dialogue. Characterization through dialogue. Subtext. Dialect. 

Week 7
Setting/Pacing: Time. Place. Weather. Description of setting. Merging character and setting. How to manipulate time through pacing. Flashbacks. 

Week 8
Voice: Voice defined. Exploration of the various types of voice. Tips for finding your voice. Understanding style—syntax, diction, and paragraph length.

Week 9
Theme/Revision: Theme defined. Types of theme. Weaving theme into a story. Exploration of the various stages of revision. 

Week 10
The Business: Proper format for manuscripts. How to target publishing houses, literary magazines, and agents. Query letters.

Note: Content may vary among individual classes.

Teachers

Alanna Schubach
Alanna Schubach

Alanna Schubach is the author of the novel The Nobodies (Blackstone Publishing). Her short stories have appeared in Sewanee Review, Massachusetts Review, Juked, and Electric Literature's Recommended Reading. Her nonfiction has appeared in The Atlantic, The NationJacobin, the Washington Post, the Village Voice, and the LA Review of Books. She has taught at the Japan Exchange and Teaching Program, the College Readiness Program, the Westchester County Department of Corrections, and Girls Write Now. She holds a BA from American University and an MFA in Fiction from Sarah Lawrence College.

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Angela Lam
Angela Lam

Angela Lam is the author of the memoir Red Eggs and Good Luck (She Writes Press), the novels Friends First, The Divorce Planner, and the Women of the Crush series (all The Wild Rose Press), and Blood Moon Rising (Eternal Press), and the short story collection The Human Act and Other Stories (All Things That Matter Press). Her nonfiction has appeared in The Sun, the San Jose Mercury News, SFGate, the Portland Book Review, and the Bohemian. She holds a BA from Sonoma State University.

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Arlaina Tibensky
Arlaina Tibensky

Arlaina Tibensky is the author of the novel And Then Things Fall Apart (Simon & Schuster). Her short stories and nonfiction have appeared in One Story, SmokeLong QuarterlyMcSweeney's, Madison ReviewThe Dinner Party DownloadNew Stories from the Midwest 2018 (New American Press), the New York Times, and elsewhere. She holds a BA from the University of Wisconsin-Madison, and an MFA in Fiction from Columbia University.

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Brendan Halpin
Brendan Halpin

Brendan Halpin is the author of the novels Dear Catastrophe Waitress, Long Way Backand Donorboy (all by Villard); the memoirs Losing My Faculties and It Takes a Worried Man (both by Villard); and the author or co-author of eight young adult novels, including Legacy (Gum Road), Forever Changes (by Farrar, Straus & Giroux), Tessa Masterson Will Go To Prom (Walker Books), and A Really Awesome Mess (Egmont USA). His nonfiction has appeared in the New York Times, the Boston Globe, the Los Angeles Times, the Sunday Times (of London) Magazine, Best Life Magazine, Rosie Magazine, and Ladies’ Home Journal. He has taught at Emmanuel College, Bunker Hill Community College, and the Wentworth Institute of Technology. He holds a BA from the University of Pennsylvania and an MA in Teaching from Tufts University.

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Mengyin Lin
Mengyin Lin

Mengyin Lin has published short fiction in Ploughshares, Joyland, Pleiades, Epiphany, Fence, swamp pink, and Best Debut Short Stories (Catapult Books), and essays and interviews in the New York Times and Guernica. She holds a BFA in Film from New York University and an MFA in Fiction from Brooklyn College.

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Philip Cioffari
Philip Cioffari

Philip Cioffari is the author of the novels If Anyone Asks, Say I Died From the Heartbreaking Blues, The Bronx Kill, Jesusville, Catholic Boysand Dark Road, Dead Endas well as the short story collection A History of Things Lost or Broken, (all Livingston Press/University of West Alabama). His short fiction has appeared in the Southern Humanities Review, the Westchester Review, the North American Review, the Connecticut Review, Italian Americana, and been anthologized in Wild Dreams (Fordham University Press), 100 Percent Pure Florida Fiction (University of Florida Press), and Many Lights in Many Windows (Milkweed Editions). His plays have been staged or received staged readings at The Actors Studio, the Belmont Playhouse, the Gettysburg College New Plays Festival, and the Circle Repertory Lab, among many others. He wrote and directed the feature film Love in the Age of Dion, which won Best Director at the New York Independent Film and Video Festival, played at many film festivals including the Rhode Island International Film Festival and the Wildwood-By-The-Sea Festival, and was selected for the New Filmmakers NY series. He teaches at William Paterson University. He holds a Ph.D from New York University.

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Quinn Adikes
Quinn Adikes

Quinn Adikes has published fiction in Lit Hub, Five Points, Epiphany, december, the Southampton Review, Shenandoah, and other journals. He taught for Stony Brook Southampton, where he also earned an MFA in Creative Writing. 

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Radhika Sharma
Radhika Sharma

Radhika Sharma is the author of the novel Mangoes for Monkeys and the short story collection Parikrama, (both Frog Books/Leadstart Publishing). Her short fiction has appeared in the Santa Clara Review and The Fanzine, and her essays, reviews, and articles have appeared in the San Jose Mercury News, the San Francisco Chronicle, the Times of India, the Economic Times, Pacific Time, Perspectives, In the Fray, and the Forum on KQED FM, among many others. She is a former assistant fiction editor for 14Hills literary magazine, and she has taught for San Francisco State University, Milipitas Adult Education, and the Learning Bee. She holds an MFA in Creative Writing from San Francisco State University.

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Rita Chang-Eppig
Rita Chang-Eppig

Rita Chang-Eppig is the author of the novel Deep as the Sky, Red as the Sea (Bloomsbury). Her short fiction has been selected for Best American Short Stories and published in Midnight Breakfast, McSweeney’s Quarterly Concern, the Rumpus, Clarkesworld, the Virginia Quarterly Review, the Santa Monica Review, Conjunctions, and the Kenyon Review Online, among others. She received a Steinbeck Fellowship from the Martha Heasley Cox Center for Steinbeck Studies at San Jose State University, and she has taught for the University of San Francisco and the San Francisco Writers’ Grotto. She holds a Ph.D in Clinical Psychology from the University of Michigan and an MFA in Fiction from New York University.

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