What is a "good" writing workshop? Personally, I can not answer this question. What I do know, however, and claims, even to do my specificity and the workshops of La Clef animated by yours truly, can be summarized in three points :
1) Before writing, read . We can not claim to start writing without being an avid reader. Elementary ... No?
2) Since we must read, must read as well. Despite school memories can be traumatic, and contrary to popular belief, the "classics" are not boring. Simple common sense. If books written by authors long gone still shine a thousand lights, there must be a reason. Hence the importance of literary culture . This can be learned and develop at any age. Can we love language and writing without having attended Ladies Princess of Cleves, Bovary, Renal, Gilberte and Albertine etc ... without having tasted a few verses of Racine, Marivaux few lines? Is this a quaint vision?
I do not think so.
not prevented, nor the incursions at major European, Russian, German, Italian, English, and modern, although I recommend not to be limited to reading "too cool prose."
Simenon, Albert Cohen, Celine, Camus, Le Clezio, Christian Bobin etc ... were (and are) already almost classic. There are many others.
3) After discussing some principles of creativity, such as developed often by the greatest writers, should address all genres in order their appearance in history literature, including poetry and drama (dialogue, skit), the new, finally, as the anteroom of the novel.
This is the practice of Workshops The Key for ten years and their trademark in a way, a practice that can not exist without the absolute requirement to be playful and interactivity by now well known formula: C
ritique abolished
Q UANTITY first (the more one writes, the more likely it is to secrete a pearl)
F arfelu welcome
D evelopment systematic. (From what was presented to participants)
finally mention the use of the Mental Map as a remedy for "the anxiety of the blank page" and release mode right brain, the cons tyranny of the left brain.
Before concluding, let's reading, writing matrix. How to read so to profit? : simply being bi-reader, reading twice:
- Once for the pleasure , letting himself go with the text, even skipping a few pages, if you find it a little too hard. A large university was using the sexual metaphor in his advice to read difficult works, "caress the text, he said bypass it, no immediate penetration ..."
- a second time, a replay as a tool , to observe how the author made, and in the toolkit, you are 7:
• Who? (Actors, characters, the "characters" and their role)
• What? (The plot, topic, motivations)
• Where? (Places, backgrounds)
• When (time, temporal relationships)
• Why? (Motivations, Spring)
• How? (Is there repetition, structure)
• How (psychology, language, style)
Writing has a key. It is located in La Clef Saint-Germain-en-Laye .
1) Before writing, read . We can not claim to start writing without being an avid reader. Elementary ... No?
2) Since we must read, must read as well. Despite school memories can be traumatic, and contrary to popular belief, the "classics" are not boring. Simple common sense. If books written by authors long gone still shine a thousand lights, there must be a reason. Hence the importance of literary culture . This can be learned and develop at any age. Can we love language and writing without having attended Ladies Princess of Cleves, Bovary, Renal, Gilberte and Albertine etc ... without having tasted a few verses of Racine, Marivaux few lines? Is this a quaint vision?
I do not think so.
not prevented, nor the incursions at major European, Russian, German, Italian, English, and modern, although I recommend not to be limited to reading "too cool prose."
Simenon, Albert Cohen, Celine, Camus, Le Clezio, Christian Bobin etc ... were (and are) already almost classic. There are many others.
3) After discussing some principles of creativity, such as developed often by the greatest writers, should address all genres in order their appearance in history literature, including poetry and drama (dialogue, skit), the new, finally, as the anteroom of the novel.
This is the practice of Workshops The Key for ten years and their trademark in a way, a practice that can not exist without the absolute requirement to be playful and interactivity by now well known formula: C
ritique abolished
Q UANTITY first (the more one writes, the more likely it is to secrete a pearl)
F arfelu welcome
D evelopment systematic. (From what was presented to participants)
finally mention the use of the Mental Map as a remedy for "the anxiety of the blank page" and release mode right brain, the cons tyranny of the left brain.
Before concluding, let's reading, writing matrix. How to read so to profit? : simply being bi-reader, reading twice:
- Once for the pleasure , letting himself go with the text, even skipping a few pages, if you find it a little too hard. A large university was using the sexual metaphor in his advice to read difficult works, "caress the text, he said bypass it, no immediate penetration ..."
- a second time, a replay as a tool , to observe how the author made, and in the toolkit, you are 7:
• Who? (Actors, characters, the "characters" and their role)
• What? (The plot, topic, motivations)
• Where? (Places, backgrounds)
• When (time, temporal relationships)
• Why? (Motivations, Spring)
• How? (Is there repetition, structure)
• How (psychology, language, style)
Writing has a key. It is located in La Clef Saint-Germain-en-Laye .