*How to Apply

To apply, please submit a note of no more than 500 words, explaining your interest in the course, along with 3-10 pages of prose to bombaywritersworkshop@gmail.com. Incomplete work is fine. Please do not send more than 10 pages.

Your note should discuss the reasons you write, what you hope to get out of the workshop, any prior experience you have in creative writing or literature (none is required), and what you like to read. If you come from a background traditionally or currently underrepresented in literature, feel free to discuss how that affects your work or what you hope to say. 

That note, by the way, is itself a piece of writing, with voice and purpose. Check your spelling, and write it well.

Not all applicants will receive feedback on their submissions.

Frequently Asked Questions and Frequently Held Thoughts

I still don’t know much about the workshop model. Can you tell me more?

The workshop originated at the University of Iowa in the 1950s, which was the first time in (at least American) history that people decided to give creative writing a dedicated home in the academy. 

The standard model is this: ten to twelve students sit around a seminar table, with one instructor, having read the workshoppee’s submission twice before class and written them a thoughtful 1-2 page letter. The person being workshopped reads a paragraph to a page from their work, then falls silent. The workshop begins with the class identifying some of the strengths and admirable qualities of the work. Then the instructor leads the class to identify some places the writer can improve, often delivering a mini-lecture on craft that all students can learn from. 

Why are you following the workshop model?

The workshop model has its limitations. It can feel strange to sit in silence while your work is being discussed, for instance. However, its advantages might outweigh its drawbacks for early-stage writers. Experiencing how other people encounter your work “in the wild,” so to speak, is useful. 

Also, reading other people’s work is perhaps even more instructive than having your own work discussed. It teaches us about the architecture of written work.

Lastly, the course won’t just be workshop-based. It also includes three warmup weeks of reading and generative discussions, and the 1:1 writing partner model.

Are there age restrictions?

Applicants should be above the age of 18.

Is the workshop really only prose?

 Yes. Only prose. No screenplays or poetry at this time.

I read and write but I’m uncomfortable with some of the mechanics of language, or I wasn’t trained in literary writing formally. I’m nervous about applying. What can I do?

Grab yourself a copy of Elements of Style by Strunk & White. It’s a very short book that can help you nail down some of the basics of sentences and grammar. But also, don’t worry. Everyone will have a chance to explain what they want to work on during the workshop. For some that will be plotting and character development. For others that may be language itself. By knowing where you can improve, you’ve already started down your literary path.

I have no creative writing experience, and I’m worried about actually getting stuff written/meeting deadlines, but I want to join.

That’s fine as long as you’re willing to write two pieces for the workshop. The pieces can be rough if getting the words on paper is the hard part for you. The first three weeks should also set you up to get your juices flowing.

I write stuff that isn’t “literature,” or I want feedback on something like a personal statement or a cover letter.

This workshop is for primarily literary writing. Business writing or copywriting isn’t a good fit.

I can’t make this workshop due to your dates but I’m really interested!

Send an email to bombaywritersworkshop@gmail.com so you can be in the loop for future sessions. 

When will the next batch be?

Instructor schedule permitting, we may do a short monsoon batch this year. TBD. 

I can’t pay a thing, but I think I’m a good writer and/or want a shot.

Email anyway with an application and explain your situation to whatever degree you feel comfortable. A scholarship may be available.

This is India, where regional literature matters as much as or more than English literature. Why are you running an English-language workshop?

If I (Sanjena) were a polyglot, I’d run a non-English language workshop, too. But alas, like too many Americans, I am basically unilingual. 

Regional literatures are crucial to Indian literature, and while this workshop is not equipped to bridge the gap between English and regional languages, we will read some work in translation during the first three weeks. 

That said, there’s also a rich history of English language literature in India which is not worth dismissing.

My primary language of writing is not English.

The workshop can only be run in English, but if you are willing to translate your own work, your submissions are welcome. Just make note of the fact that we are workshopping you in translation. That way we will be able to focus on plot, structure, flow, character, etc and not get as fussy about the line by line if you are not a professional translator.

What if I have to quit in the middle?

Please don’t! Sadly, there will be no refunds. 

What if I have to miss a session/sessions?

Please don’t! Being present at every class is crucial. That said, if you have an extenuating circumstance and know now as you’re applying, please make note in your initial email.

I love to write, but I don’t read much.

A writing life is inextricable from a reading life, and this workshop stems from the premise that writing is not merely an act of self-expression. If you don’t like to read, and don’t anticipate that changing, this probably isn’t the space for you. But if you’re willing and eager to begin reading more, or to be exposed to new voices, you are so, so welcome. 

Are there other non-degree workshops like this in the world?

Sure! There are a bunch of non-degree writing organizations around the world. 

Chimamanda Adichie runs one in Lagos. There’s the Berlin Writers’ Workshop. There’s CRIT, run by Tony Tulathimutte in New York, and a number of others in New York including the Sackett Street Writers’ Workshop and Gotham. Sackett also runs online courses, as does Catapult. And I (Sanjena) am a graduate of Clarion, which also runs Clarion West -- both for writers of speculative fiction. If you hear of any others, let us know. We hope everyone has access to something like the Bombay Writers’ Workshop, if they want it!

Other questions or concerns? Write to bombaywritersworkshop@gmail.com.