Every fiction involves a journey. No matter if its a single trip up an escalator or a migration across the globe, characters are always moving. But what happens when they get there? How do you keep the energy and interest going when the motion stops? And, more importantly, is there a point when the writer has to step back and let the character(s) chart their own course? How does a writer move plot along to a more interesting place? These and other elements of dramatic, literary propulsion—including arrival, fish-out-water feelings, assimilation and emotional escapes—will be discussed in this Master Class Mixer.
Among recent assimilation-themed books, Laleh Khadivi’s 2017 novel, A Good Country, seemed all but torn from the headlines. A Muslim teenager in Southern California morphs from good-boy math whiz to surfer, stoner, and budding revolutionary. The New York Times’ impassioned review called A Good Country, “Powerful. Khadivi's book is meticulous, unsparingly realistic and rich in nuance. As an Iranian-American writer and the child of a Muslim country, I want the world to read this book because of its naked, unflinching honesty.”