$40.00

Please note that you are applying for a Short Fiction Scholarship.

Instructions:

1) Fill out the questionnaire.

&

2) Upload your scholarship letter and manuscript as one document:

Scholarship Letter: A 400-800 word essay describing what you are currently working on, how you hope an experience at our conference will benefit your writing, and any other personal information that you feel like we should know about you. Think of this as nothing more than an introduction to who you are and where you are coming from as a writer.

Fiction: 5,000 words or less of Short Fiction (of no more than two samples). Double-spaced.

  • If you have previously been ACCEPTED into a Tin House workshop, please do not apply with the same material you were admitted with.
  • Please do not apply with previously published material. However, it is okay to apply with work that is out for submission.
  • If accepted, you will have the opportunity to switch your manuscript. 

  • Participants may only attend our workshops for three consecutive sessions. This includes both summer and winter.
  • One may be awarded a scholarship only once.
  • All scholarship applicants will also be considered for general admission. You do not need to submit a general application as well.
Ends on April 1, 2017$40.00
$40.00

Please note that you are applying for a Novel Scholarship.

Instructions:

1) Fill out the questionnaire.

&

2) Upload your scholarship letter and manuscript as one document:

Scholarship Letter: A 400-800 word essay describing what you are currently working on, how you hope an experience at our conference will benefit your writing, and any other personal information that you feel like we should know about you. Think of this as nothing more than an introduction to who you are and where you are coming from as a writer. 

Fiction: 5,000 words or less from your novel-in-progress (double-spaced). Include a brief (1-2 pages) novel synopsis at the beginning of the manuscript. This will not count towards the word limit.
  • If you have previously been ACCEPTED into a Tin House workshop, please do not apply with the same material you were admitted with.
  • Please do not apply with previously published material. However, it is okay to apply with work that is out for submission.
  • If accepted, you will have the opportunity to switch your manuscript. 

  • Participants may only attend our workshops for three consecutive sessions. This includes both summer and winter.
  • One may be awarded a scholarship only once.
  • All scholarship applicants will also be considered for general admission. You do not need to submit a general application as well.
$40.00

Please note that you are applying for a Creative Nonfiction Scholarship.

Instructions:

1) Fill out the questionnaire.

&

2) Upload your scholarship letter and manuscript as one document:

Scholarship Letter: A 400-800 word essay describing what you are currently working on, how you hope an experience at our conference will benefit your writing, and any other personal information that you feel like we should know about you. Think of this as nothing more than an introduction to who you are and where you are coming from as a writer. 

Manuscript: 5,000 words or less of creative nonfiction (of no more than two samples). Double-spaced. If you're submitting from a longer work, please do your best to ensure the excerpt is self-contained & include a brief (1-2 page) project synopsis at the beginning of the manuscript. This will not count towards the word count.
  • If you have previously been ACCEPTED into a Tin House workshop, please do not apply with the same material you were admitted with.
  • Please do not apply with previously published material. However, it is okay to apply with work that is out for submission.
  • If accepted, you will have the opportunity to switch your manuscript. 

  • Participants may only attend our workshops for three consecutive sessions. This includes both summer and winter.
  • One may be awarded a scholarship only once.
  • All scholarship applicants will also be considered for general admission. You do not need to submit a general application as well.
Ends on April 1, 2017$40.00
$40.00

Please note that you are applying for a Poetry Scholarship.

Instructions:

1) Fill out the questionnaire.

&

2) Upload your scholarship letter and manuscript as one document:

Scholarship Letter: A 400-800 word essay describing what you are currently working on, how you hope an experience at our conference will benefit your writing, and any other personal information that you feel like we should know about you. Think of this as nothing more than an introduction to who you are and where you are coming from as a writer. 

Manuscript: Up to 5 poems, with a max length of 10 pages total.
  • If you have previously been ACCEPTED into a Tin House workshop, please do not apply with the same material you were admitted with.
  • If accepted, you will have the opportunity to switch your manuscript. 

  • Participants may only attend our workshops for three consecutive sessions. This includes both summer and winter.
  • One may be awarded a scholarship only once.
  • All scholarship applicants will also be considered for general admission. You do not need to submit a general application as well.
$40.00

Please note that you are applying in General Creative Nonfiction.

Instructions:

1) Fill out the questionnaire.

&

2) Upload your bio and manuscript as one document:


Bio: A 300 word or less bio that covers publications, awards, previous workshops attended, and any other info you think we should know.

Manuscript:
5,000 words or less of creative nonfiction (of no more than two samples). Double-spaced. If you're submitting from a longer work, please do your best to ensure the excerpt is self-contained & include a brief (1-2 page) project synopsis at the beginning of the manuscript. This will not count towards the word count.
  • If you have previously been ACCEPTED into a Tin House workshop, please do not apply with the same material you were admitted with.
  • Please do not apply with previously published material. However, it is okay to apply with work that is out for submission.
  • If accepted, you will have the opportunity to switch your manuscript. 
  • Participants may only attend our workshops for three consecutive sessions. This includes both summer and winter
Ends on May 1, 2017$40.00
$40.00

Please note that you are applying as a General Novel Applicant.

Instructions:

1) Fill out the questionnaire.

&

2) Upload your bio and manuscript as one document:

Bio: A 300 word or less bio that covers publications, awards, previous workshops attended, and any other info you think we should know.

Fiction: 5,000 words or less from your novel-in-progress (double-spaced). Include a brief (1-2 pages) novel synopsis at the beginning of the manuscript. This will not count towards the word limit.
  • If you have previously been ACCEPTED into a Tin House workshop, please do not apply with the same material you were admitted with.
  • Please do not apply with previously published material. However, it is okay to apply with work that is out for submission.
  • If accepted, you will have the opportunity to switch your manuscript. 
  • Participants may only attend our workshops for three consecutive sessions. This includes both summer and winter.
Ends on May 1, 2017$40.00
$40.00

Please note that you are applying for as a General Poetry Applicant.

Instructions:

1) Fill out the questionnaire.

&

2) Upload your bio and manuscript as one document:

Bio: A 300 word or less bio that covers publications, awards, previous workshops attended, and any other info you think we should know. 

Manuscript: Up to 5 poems, with a max length of 10 pages total.
  • If you have previously been ACCEPTED into a Tin House workshop, please do not apply with the same material you were admitted with.
  • If accepted, you will have the opportunity to switch your manuscript. 
  • Participants may only attend our workshops for three consecutive sessions. This includes both summer and winter.
Ends on May 1, 2017$40.00
$40.00

Please note that you are applying as a General Short Fiction Applicant.

Instructions:

1) Fill out the questionnaire.

&

2) Upload your bio and manuscript as one document:

Bio: A 300 word or less bio that covers publications, awards, previous workshops attended, and any other info you think we should know.

Fiction: 5,000 words or less of Short Fiction (of no more than two samples). Double-spaced.

  • If you have previously been ACCEPTED into a Tin House workshop, please do not apply with the same material you were admitted with.
  • Please do not apply with previously published material. However, it is okay to apply with work that is out for submission.
  • If accepted, you will have the opportunity to switch your manuscript. 
  • Participants may only attend our workshops for three consecutive sessions. This includes both summer and winter.

The Tin House Summer Workshop is known for its lectures: brilliant, practical craft talks that hone our writerly chops and make us hungry to work. In this same spirit, Tin House’s Brooklyn outpost is proud to offer Tin House Craft Intensives, a series of afternoon workshops focused on facets of craft and led by Tin House editors and writers. Less lecture and more laboratory, the intensives combine close reading, discussion, and in-class writing to offer a potent dose of inspiration and explore what makes writing work when it works. Join us!


  • Classes are held in the Brooklyn Tin House offices at 126 13th Street, Unit 4R, in the Gowanus neighborhood. Each Intensive is capped at seven students. Stay after the class for an optional look around the office and a Q & A with a Tin House editor.
  • Cost is $125, and includes a subscription to Tin House (or a renewal, for current subscribers). 
  • The Craft Intensives are intended for experienced students; you will be asked to provide a short bio and writing sample (up to 10 pages, double-spaced, fiction or nonfiction) by way of application. Admissions are rolling--and competitive--and fill fast! Apply early to secure a spot. Final deadline is March 20, 2017. 

Contact Emma Komlos-Hrobsky at emma@tinhouse.com with questions. We look forward to your applications!

__________________________________  


Sunday, April 2nd, 2017, 2:00-5:00
Setting the Clock: Manipulating Past, Present, and Pace in Fiction, with PAMELA ERENS

Often when we write fiction we proceed as if there is a primary story that takes place in “the present” which may then be interrupted with a limited number of flashbacks to give necessary background information. In fact, the best story writers employ more various and surprising manipulations of past and present (and sometimes future), but they do this so subtly that we don’t notice all the shifts. A few variations: toggling unpredictably between many different time frames; dipping into the past for a mere (but essential) sentence fragment; spending more time in the past than the present (not a no-no, contrary to popular belief).

We’ll take a close look at examples of gorgeous time-shifting in three masterful short stories, with the aim of becoming aware of the many possibilities for monkeying with time in our own writing. Might one of your why-isn’t-this-working stories blossom with a different approach to its time register? Please bring in a finished or well-along story that is bedeviling you, that seems to resist your revisions. You’ll be taking a fresh look at it and also we’ll generate something new in class.

Texts: “Work,” by Denis Johnson; “Royal Beatings,” by Alice Munro; and “Window,” by Deborah Eisenberg. (*You will be asked to please read these stories in advance.* They will be emailed to you when you enroll. Don’t analyze anything about them, just enjoy them and jot a couple of notes about the effect they had on you.

 

Sunday, April 23rd, 2017, 2:00-5:00
Where Are You Going, How Do You Get There? With ELISSA SCHAPPELL

It’s ironic the stories that we most need to write, the ones that we alone can write, are often ones we are not writing. Why? The stakes are too high, we feel unequal to the task, it’s frankly too daunting. What we need are new traps. We need new tools, forms and narrative devices that will allow us to move beyond our comfort zone under cover of artifice, so we can write something true. In this workshop we will looking at a variety of work from writers such as Amy Hempel, Margaret Atwood, Joe Wenderoth, Padgett Powell, and George Saunders.

  

Sunday, May 7th, 2017, 2:00-5:00
Dread: Fear and Loathing in Fiction, with ALICE SOLA KIM

Encountering dread in fiction is unpleasant yet thrilling, both sensations inextricably entwined with the other. Stories don't have to be overtly horrific or supernatural to haunt readers, create a chilling mood, or create the kind of suspense that makes one eager yet fearful to learn what comes next—though of course we'll discuss some of those too. Exploring works by Ben Marcus, Kelly Link, Donald Barthelme, Samanta Schweblin, and others, we will take a look at that which is unsettling, creepy, and full of dread in fiction, examining these particular effects and uses and pinpointing the ways in which it stems from form, character, language, situation, and so on. We'll also do a few writing exercises in class to drum up a little dread of our own, or at least put some of our free-floating unease to creative purpose.

 

Sunday, May 21st, 2:00-5:00
Surrounding the Ghost, with SAMANTHA HUNT
A generative practice perceiving meaningful patterns in random data

Apophenia is the mind’s desire to make connections between unrelated events. How can we use this idea to write what is unwritable? When stories are full of holes or faulty memories, trauma or the world’s unknowable wonder, this practice can sketch an outline/chalkline around the invisible, creating a pointillist narrative that is vibrant with synaptic leaps and air-borne connections. We’ll spend class time discussing a handful of readings and ideas while we work on creating both written and oral narratives.

 

PAMELA ERENS’s second novel, The Virgins, was a New York Times Book Review Editor’s Choice and was named a Best Book of 2013 by The New Yorker, The New Republic, Library Journal, and Salon. The novel was a finalist for the John Gardner Book Award for the best book of fiction published in 2013. Pamela’s debut novel, The Understory, was a finalist for the Los Angeles Times Book Prize and the William Saroyan International Prize for Writing. Her essays, articles, and reviews have appeared in publications such as Virginia Quarterly Review, Elle, Vogue, The New York Times, Los Angeles Review of Books, and The Millions. Her third novel, Eleven Hours, published in May 2016.

ELISSA SCHAPPELL is a co-founder and editor at large of Tin House, as well as the author of Blueprints for Building Better Girls and Use Me, a finalist for the PEN/Hemingway Award, and co-editor with Jenny Offill of the anthologies The Friend Who Got Away and Money Changes Everything. She is a contributing editor at Vanity Fair and a frequent contributor to the New York Times Book Review. Her essays, articles, and stories have appeared in numerous magazines and anthologies such as The Bitch in the House, The KGB Bar Reader, and The Mrs. Dalloway Reader. She teaches at Columbia University.

ALICE SOLA KIM lives in New York. Her writing has appeared or is forthcoming in places such as McSweeney'sTin HouseThe Village Voice, Lenny, BuzzFeed Reader, and The Year's Best Science Fiction and Fantasy. She is a winner of the 2016 Whiting Award, and has received grants and scholarships from the MacDowell Colony, Bread Loaf Writers' Conference, and the Elizabeth George Foundation.

SAMANTHA HUNT is the author of four books. Mr. Splitfoot, a ghost story, was a New York Times Editors’ Choice. The Invention of Everything Else, Hunt’s novel about inventor Nikola Tesla, was a finalist for the Orange Prize and winner of the Bard Fiction Prize. Her first novel, The Seas, won the National Book Foundation’s Five under Thirty-five prize. Her first story collection, The Dark Dark will be published in 2017 by Farrar Straus Giroux. Hunt’s fiction has been published in The New Yorker, McSweeney's, Tin House, the New York Times and a number of other fine publications. She lives in Tivoli, New York.