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This spring’s Creative Writing and Narrative Theory workshop at Skrivarakademin, Folkuniversitetet (Stockholm, Sweden) will run for ten Monday evenings starting March 11th.

The Novel Development Workshop, for longer or connected words of fiction, will meet five Wednesday evenings starting February 20th.

If you have any questions about either of these workshops, please contact me at kevin.frato@folkuniversitetet.se.

By the way, for those working in shorter formats, I’ll also be running a short story workshop March 2nd and 3rd.

Yes, attendance is high at these workshops.

Annonser

Looking for a group of writers where you can work together learning and practicing skills, and analysing your methods?

Starting around the end of February I’ll be leading my usual Monday evening workshop in Creative Writing and Narrative Theory at Folkuniversitet’s Skrivarakademin.  The class tends to have excellent attendance, with writers who  put a lot of effort into their own and each others’ texts.  In addition, I teach useful linguistic and narrative theory and skills; writers tend to experience a sharp learning curve as they learn new skills and develop their styles.  The course meets a total of ten Monday evenings, from 6-9:15 pm.

For those working on longer texts who would like to workshop them in-depth and learn more advanced theory, I run the Novel Development Workshop on Thursday evenings.

Hope to see you there.  If you have any questions, please feel free to contact me at kevin.frato@folkuniversitetet.se.

If you’re an English-language creative writer in the Stockholm, Sweden area, looking for courses taught by a regularly publishing fiction author, I’ve designed my courses for you: Creative Writing and Narrative Theory and Novel Development Workshop.  The courses aren’t free, I’m well aware of it –– but I do make sure you get your money’s worth.
Creative Writing and Narrative Theory is a fairly intense starter- or mid-level course which teaches linguistic and narrative skills in a supportive workshop-setting.  I enforce strict workshopping rules to protect the integrity of the author: we focus on a reader-response approach.  For instance, how did this text work for us, what exactly is it, what exactly happens at the physical and psychological levels, and how does it function at the linguistic and structural level?  I don’t allow value judgments or helpful suggestions, only our honest impressions, enjoyments, confusions.  Then the author gets to decide how they want to proceed with the piece.

The Novel Development Workshop, on the other hand, is structured around longer texts and more advanced theory.  I place particular focus on teaching the theoretical issues of historical fiction and fantasy.  Other forms of fiction can be learned through them, because they follow the main divisions of all literature: realism and non-realism.

The courses tend to fill up, and the group feeling is always supportive and exciting.  We have a lot of fun together and still get a lot of work done.  So if you’re looking to get started, need more structure, want more theory or skill, or are just lonely and want some literary company, please join us.  And if you’re having trouble justifying the time or money to yourself or anybody else, view it as a hobby worth investing in.

Folkuniversitetets Skrivarakademin in Stockholm has just released its sign-up info for next spring’s Creative Writing and Narrative Theory course.  I’ll be teaching Monday evenings, 6-9:15 p.m., at Kungstensgatan 45.

What will writers be getting for their money?  My goal is teach people everything I’ve spent the past twenty-odd years painfully learning in classes and by hand, through trial and error and the hundreds of rejections I accumulated before becoming a working author.  Skills and theory, as well as updates on what’s going on in the publishing industry and the world of literature, so people won’t have to figure it all out by themselves.  Also: a sense of community, and a chance to take yourself seriously as a writer.  Visual artists often rent studios when they decide to really invest in their art; paying for a course can be a way to invest in your future as a writer.  I took a number of writing and playwriting courses at college, and what I learned wasn’t always apparent right then.  But now I’m glad for every one of them –– almost every time I sit down to write, I remember something I learned in one of my courses.

I hope it will be absolutely worth the investment.  Please contact me at kevin.frato@folkuniversitetet.se if you have any questions.

Since 2012 I’ve be teaching evening courses in Creative Writing and Narrative Theory and its sequel Novel Workshop at Folkuniversitetet’s Skrivarakademin in Stockholm. The courses are split between practice and theory: we practicing linguistic techniques and stylistic elements, as well as studying narrative structure and theory (the novel workshop involves meeting less frequently and working more in-depth with longer texts).  Being a native speaker isn’t a requirement, though the classes require proficiency in English (this is an opportunity for people who work in Swedish, as well, to try their hand at writing fiction in English, and to learn about another theoretical tradition).

Wondering if these classes would suit you? 

Here are a few comments from a former student named Ylva: I was initially sceptical about the writing excersises, because the ones I’ve done in other classes haven’t been very challenging. But these ones were great fun and very rewarding, and I go back to them all the time. I know we only scratched the surface, but the theory, discussions and excersises made a huge difference in how I look at and experience text. And from former student Simon Linter: MY HISTORY My name is Simon Linter and I have been writing stories since I can remember.. When I was four years old, I told my parents that I wanted to be an “arthur”.  Of course, they translated my childish language into “author”. I started to write. I wrote “Signs In The Jungle” when I was seven years old and “The Monster From Mars” when I was nine. During my teens, I continued to write, changing my job description from “arthur” to “journalist”. In 1990, aged fourteen, a video games company published a review I had written about one of their games on one their compilations. It was just the first step. Since 1994, I have worked within the media industry as a journalist, writer, copywriter and communicator. At the same time, I continued to write and found myself writing screenplays as a way to express my ideas. I believed some of them were good and convinced myself that they would be made into films one day. Some time later, I unearthed these screenplays and read through them. They were awful. Unrealistic. They would have made good candidates for the first victims of a bonfire. Yes. They were that bad. All of the screenplays were examples of my overconfidence in thinking I could write masterpieces when I couldn’t. MY STRUGGLES As the new century rolled around, I concentrated on my non-fiction article writing and graphic design work until I came up with an idea for a book. I sat down and started to tap away on a typewriter. I managed type approximately 30000 words until I stopped, scratched my head and said to myself: “What am I writing here? Where am I going with this?”. I ditched the project. A short while later, I started writing another book and the same thing happened. I didn’t know where the story was going, what the characters were doing or how they would get to the end. Once again, I ditched the project.

CREATIVE WRITING AND KEVIN FRATO In 2012, I signed up for Creative Writing, hosted by Kevin Frato at Folkuniversitet. Over ten weeks, Kevin introduced the class to different authors, different theories and opened up valid discussions about how to write. It was an eye-opener. During the classes, the group was given written tasks to complete in 10-15 minutes. Thanks to Kevin’s enthusiasm for his chosen subject and speciality, I could immediately tell that he absorbed words in the same way an addict might inhale a cigarette. I certainly feel that anybody who takes the creative writing courses at Folkuniversitet are privileged to have a teacher as enthusiastic and engaged in creative writing. As I had worked as a writer for many years and felt my writing ability was good, I still had problems when it came to writing fiction. The course introduced me to good solid ways in which to best tackle my writing. It was also a good place to meet fellow budding authors and get their perspective when it came to writing. I dredged up my screenplay “Making Headlines” as part of the first course’s homework and wrote my first finished full-length draft of a novel. During the gap between the first and second course, I wrote a second draft and took into account my classmates’ opinions. The advanced course helped me immensely. Thanks to Kevin’s enthusiasm and teachings, my classmates and the advice given, it enabled me to sit down with “Making Headlines” and go through it with a fine toothcomb. But the biggest plus about being on the advanced writing courses is a simple one: I started writing. I started writing short stories as homework that I wouldn’t have written if left to my own devices. The short stories could be foundations of longer stories, maybe even novels. The classes made me think in ways that I hadn’t thought before and have really sparked me into writing creatively. I would recommend the creative writing courses for anybody that has tried to write a novel, tried to write short stories or those who haven’t tried to write creatively but really want to start. You will be in the very capable and enthusiastic hands of Kevin Frato, who is all about the creative written word.