EVENT RECAP
2016 Highlights
2016: Northern lights!
Beneath nights with the aurora borealis glowing in the sky, our third IWR became a fully established a fixture on the Reykjavik literary scene. Attendance increased by 25%, with participants from 15 countries, meaning we had a wait-list. For 2016 we added three free, public events held during retreat, two alumni-funded scholarships, and two travel-writing contest slots. In addition to a larger faculty we added a new literary-themed day tour to Borgafjordur.
FEATURED AUTHORS
2016 Speakers
Adelle Waldman
Bestselling author
Andrew Westoll
Charles Taylor Prize winner
Ari Trausti Guðmundsson
Lecturer, Nonfiction Writer
Cheryl Strayed
Author of Wild
Elina Hirvonen
Author, journalist, and filmmaker
Gerður Kristný
Icelandic Literature Award winner
Guðni Th. Jóhannesson
Historian, Writer
HallgrÃmur Helgason
Icelandic Literary Prize winner
Kate Williams
Historian, novelist, and broadcaster
Mark Kurlansky
Journalist and bestselling author
Miriam Toews
Governor General’s Award winner
Neel Mukherjee
Man Booker Prize nominee
SigurlÃn Bjarney GÃsladóttir
Golden Circle tour guide
Steinunn Sigurðardóttir
Novelist, Poet
Vilborg DavÃðsdóttir
Author, Ethnologist, Journalist
Vincent Lam
Giller Prize winner2016 Workshops
17:29 - 17:29
The ghosts of our own families sometimes form our personal 'creations myths'. We gravitate towards these narratives. Such family histories have been a source of fascination, obsession, and material fo
17:29 - 17:29
Crime stories are not only among the most popular, but also the most versatile literary genres of our times. They elements of the crime story, such as the quest for truth or the urge to cross the boun
17:29 - 17:29
Since I believe that all prose, fiction or nonfiction, even journalism, succeeds or fails on the strength of its story telling, I think it is worthwhile to set aside some time to reflect on stories. W
17:29 - 17:29
Classical mythology and the great body of works founded on myths from the Mediterranean formed the motive reservoir of Western literature for centuries. With better knowledge of other cultures and tra
17:29 - 17:29
The most important line in any piece of writing is the first one. It might be the only one some readers look at, if it is not done well. If it is done well it is the portal through which everything fl
17:29 - 17:29
In this workshop we will explore the ways the writers can use the real world and its people as an inspiration. The workshop consists of many short writing exercises. The goal of the exercises is to pr
17:29 - 17:29
Most writers try to create unique worlds and characters – and tend to repeat same themes. Many writers develop some themes because themes reflect something in ourselves and the way we see the world.
17:29 - 17:29
Whether it is the world of a prisoner of war camp, that of competitive sports, or a busy hospital, there are tightly wound realms which seem impenetrable to the out
17:29 - 17:29
This will be a workshop on that most extraordinary of the foundation stones of realist fiction: individual consciousness, or interiority. How does a writer denote this? When we read something in a nov
17:29 - 17:29
One of the great strengths of fiction, unsurpassed by any other form, is its capacity for building a world. How does one describe a world in all its details and density? What did Henry James mean when
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When your narrator is also the protagonist in your novel, there is greater pressure on the author to write with distinctive style, to possess a strong character voice. The first-person narrator is alw
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There are two sides to the writing life: the solitary production of personal stories with all its intimate rituals; and the business of writing—working with an agent, an editor, signing contracts, c
17:29 - 17:29
Fitzgerald once said, "begin with an individual, and before you know it you find that you have created a type; begin with a type, and you find that you have createdâ
17:29 - 17:29
What does revision mean to you? If it means, getting back someone’s notes on your manuscript and going through your document, implementing those changes—a cut there, a move here—and then reachin
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We write about our lives for many reasons: to understand, to honour, to exonerate, to entertain, to heal. But when we finally sit down to begin, we often find ourselves overwhelmed by the magnitude of
17:29 - 17:29
True stories, vividly told. This is my favourite definition for creative nonfiction, a genre of literature that has consistently defied easy categorization. But while this definition is elegant and co
17:29 - 17:29
We all remember our favourite beginnings of novels - they captivate us, seize us into the story. Opening lines and scenes are vital - if readers aren't gripped by the first few pages, they might give
17:29 - 17:29
The historical novel is currently enjoying a renaissance. We are fascinated by the past. But how can we best capture the voices of the past? What are our responsibilities to historical fact and veraci