If you test positive for Covid – Don’t come to class until you test negative. But let your teacher know and we’ll work to give you access to your missed classes via Zoom.
If you show Covid symptoms OR If you have been exposed to someone with Covid – Don’t come to class for at least 5 days after showing symptoms or exposure, and then take a test to confirm that you are negative. Let your teacher know and we’ll work to give you access to your missed classes via Zoom.
If you have any questions about this, you may call (212-974-8377) or email us ([email protected]).
Reading Fiction
GUIDE TO FICTION COURSES
Fiction Pathways
Foundation
If you’re not sure what kind of fiction to write...
If you know what kind of fiction to write...
Fiction Writing I
Zoetrope Fiction Writing I
Science Fiction & Fantasy Writing I
Mystery Writing I
Romance Writing I
Children’s Book Writing I
Or...
If you want a rather short course...
Fiction Writing Intensive
Flash Fiction & Nonfiction
Children’s Book Writing Intensive
Middle Grade/Young Adult Intensive
Humor Writing Intensive
Comics & Graphic Novels
Next Steps
After completing a Level I ten-week course...
Short Fiction II
Zoetrope Short Fiction II
Novel II First Draft Part 1
Novel II Critique
Science Fiction & Fantasy Writing II
Mystery Writing II
Romance Writing II
Children’s Book Writing II
After completing Novel First Draft II Part 1...
After completing Short Fiction II...
Also Helpful
These essential courses are great for writers of any level.
Character
Dialogue
Plot 1: Mechanics
Plot 2: Machinations
Reading Fiction
In(verse): Poetic Techniques for Non-Poets
The Writer’s Mind
The Editor’s Eye
Grammar 1: The Basics
Grammar 2: Expertise and Finesse
Social Media
For Teens
Reading Fiction is a 6-week class, which includes a mixture of lectures and exercises. It’s open to writers (and fans) of all levels. Farther down, you can view a syllabus for this course.
To excel at writing fiction, you must write regularly and also read stories from a writer’s perspective. Painters typically learn their craft by studying the work of masters, and most accomplished writers do the same. Who better to show you the ropes of great fiction than the best in the business?
Each week, students focus on an aspect of fiction craft in relation to a specific story. Like works of fine art, these stories are analyzed from various angles as their secrets are revealed. (The reading consists of five short stories, which are provided, and a current novel, which students must obtain on their own.)
If you seek to elevate your fiction writing, let those who have been there show the way.
A brilliantly conceived and executed course.
Rayne O'Brian
writer
Upcoming Classes
NYC COVID Info
Price
Registration fee $25, paid once per term
6-Week
-
Online
Anytime, week-long sessions
Tuition: $339
-
One-on-One
Tuition: $1,195
Syllabus
This course features the reading of short stories (which are supplied to the class), and a novel in the final week (which students must procure). Course components:
Lectures
Writing exercises
Gotham has two separate tracks for Reading Fiction. They complement each other, and many students take both programs, but it makes no difference which one is taken first. If you take one program, then enroll again for Reading Fiction, Gotham will make sure you are placed in the other program.
The topics covered in one track (x), Spheres:
Week 1
The Confessional Story: The reader as confidant. Public self, private self. Why the lie? Why the truth?
Story analyzed: ZZ Packer’s “Drinking Coffee Elsewhere”
Week 2
The Humorous Story: Making people laugh. A premise that tickles. Exaggeration and other techniques. Taking humor seriously.
Story analyzed: TC Boyle’s “Rapture of the Deep”
Week 3
The Romantic Story: An air of drama. A romantic world. Dramatis Personae. The hand of the storyteller.
Story analyzed: Lauren Groff’s “L. Debard and Aliette”
Week 4
The Realistic Story: A reflection of life. A realistic world. Real people. What's it all about?
Story analyzed: Raymond Carver’s “So Much Water So Close to Home”
Week 5
The Surrealistic Story: Make believe. Rules of the road. Taking us there. Why surreal?
Story analyzed: Kelly Link’s “Travels With the Snow Queen”
Week 6
The Spheres: Which truth to tell? Elasticity of the spheres. Overlapping of the spheres.
Novel analyzed: Nick Harkaway’s Tigerman
And the topics covered in the other track (y), View and Voice:
Week 1
First Person Point of View: First person POV explored. Using voice in first person. Why it works for this story.
Story analyzed: Tania James’s “Escape Key”
Week 2
First Person Peripheral/Unreliable Point of View: First person (peripheral/unreliable) POV explored. Using voice in this type of first person. Why it works for this story.
Story analyzed: P.G. Wodehouse’s “Comrade Bingo”
Week 3
Third Person Limited Point of View: Third person limited POV explored. Using voice in this type of third person. Why it works for this story.
Story analyzed: Mary Gaitskill’s “Tiny Smiling Daddy”
Week 4
Third Person Serial Point of View: Third person serial POV explored. Using voice in this type of third person. Why it works for this story.
Story analyzed: George Saunders’s “The Tenth of December”
Week 5
Omniscient Point of View: Omniscient POV explored. Using voice in this type of third person. Why it works for this story.
Story analyzed: Tomiko M. Breland’s “Rosalee Carrasco”
Week 6
View and Voice: Other points of view. Considerations when choosing POV. Finding the right voice for a story.
Novel analyzed: Brian Doyle’s The Plover
Note: Content may vary among individual classes.
Teachers
David Yoo
David Yoo is the author of the young adult novels Stop Me If You've Heard This One Before (Hyperion) and Girls for Breakfast (Delacorte), the middle grade novel The Detention Club (Balzer + Bray), and the essay collection The Choke Artist (Grand Central). He has published short stories and nonfiction in Massachusetts Review, Rush Hour, Maryland Review, and the anthology Guys Write for Guys Read (Viking). He is also a columnist for KoreAm Journal. He has taught at Pine Manor College, Eckerd College, and CU-Boulder. He holds a BA from Skidmore College and an MA in Creative Writing from the University of Colorado-Boulder.
Read moreDavid Yoo
David Yoo
is the author of the young adult novels Stop Me If You've Heard This One Before (Hyperion) and Girls for Breakfast (Delacorte), the middle grade novel The Detention Club (Balzer + Bray), and the essay collection The Choke Artist (Grand Central). He has published short stories and nonfiction in Massachusetts Review, Rush Hour, Maryland Review, and the anthology Guys Write for Guys Read (Viking). He is also a columnist for KoreAm Journal. He has taught at Pine Manor College, Eckerd College, and CU-Boulder. He holds a BA from Skidmore College and an MA in Creative Writing from the University of Colorado-Boulder.
