Creative writing classes - Winter 2020 - Hugo House
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Winter 2020
creative writing
classesTABLE OF CONTENTS
BECOME A MEMBER
As a member, you help us provide
About Our Classes ... 1 thought-provoking classes and events that
connect writers and readers to the craft of
Navigating the Catalog ... 2 writing. You’ll also receive great benefits,
including early registration and discounts
Visiting Writers ... 3
on classes and events. Learn more at
hugohouse.org/become-member/
Fiction ... 6
Nonfiction ... 10
Prose ... 13
Mixed Genre ... 16
Poetry ... 19
Reading Like a Writer ... 23
The Writing Life ... 24
Youth Workshops ... 26
Resources ... 28
About Our Teachers ... 29
Notes ... 33
Need a coffee fix before class? All Hugo House students receive
a 10-percent discount from our generous friends at Cafe Argento.
iiiiABOUT OUR CLASSES
At Hugo House, we offer creative writing courses in a wide range of writing styles and genres. Whether
you’re writing your first poem or have a few novels behind you, Hugo House offers a class to help you
become a better writer.
Our classes are taught by published writers and experienced teachers. Our students come from a variety
of backgrounds and life experiences. What they all have in common is a love of words.
REGISTRATION SCHOLARSHIPS
Register in person, by phone at (206) 322-7030, or Need-based scholarships are available every
online at hugohouse.org. quarter. Applications will be due December 2,
and scholarship applicants will be notified
All registration opens at 10:30 am December 9.
$500+ donor registration: December 2
Member registration: December 3 Visit bit.ly/AboutHHClasses for more
General registration: December 10 information and to apply.
Register early to save with early bird pricing, in
effect December 2–16.
CANCELLATIONS AND TRANSFERS REFUNDS
If you need to cancel your registration for a class, the Hugo House cannot provide refunds, transfers, or
following refund schedule applies: makeup sessions for classes a student might miss. If
Hugo House has to cancel a class, you will receive a
• 3 days or more before a class, a class credit or full refund.
transfer will be issued less a $15 fee. Refunds
will be issued less a $35 fee. QUESTIONS?
• Less than 3 business days before class start, no If you want to know more about a class or Hugo
refund, credits, or transfers are available. House policies, email us at registrar@hugohouse.org
• No refunds, class credits, or transfers will be or call (206) 322-7030. We are here to help!
available after classes begin.
hugohouse.org 206-322-7030 registrar@hugohouse.org
1NAVIGATING THE CATALOG
• If you’re looking for genre-specific classes, look under Fiction, Nonfiction, or Poetry.
Classes applicable to both fiction and nonfiction writers can also be found in Prose.
• You can also look under Mixed Genre and in the Visiting Writers section, as
many of these classes are useful to writers in any genre. Mixed Genre also includes
courses in writing for performance, including playwriting, screenwriting, and
songwriting.
• For classes that are less about writing and more about reading and discussing
NAVIGATING THE CATALOG
works by great authors, look in the Reading section.
• For classes on submitting your work, publishing, and the business of being a
writer, look under The Writing Life.
• This term, we’re also offering writing classes for middle- and high-
schoolers. These classes are listed under Youth Workshops.
• For information about our writers-in-residence, drop-in writing circles,
and manuscript consultation program, look at the Resources section.
CLASS LEVELS
ALL LEVELS | Many classes at Hugo House are intended for writers at any level, regardless of prior writing
class experience.
INTRODUCTORY | Writers with limited experience in a writing class or workshop setting who want to
expand their knowledge should consider introductory classes. These classes are also designed for writers who
want to explore a new genre.
INTERMEDIATE | Writers with some experience in genre-specific instruction looking to deepen their
understanding should consider intermediate classes. These classes often feature a workshop component in
which student work is shared and critiqued.
ADVANCED | Writers with significant experience in a writing class or workshop setting who seek assistance
and feedback with revision should consider advanced classes.
CATALOG KEY
Online class
2VISITING WRITERS
FICTION
JESS WALTER
WHAT YOU CAN LEARN FROM NOIR & CRIME FICTION
(IT’S NOT WHAT YOU THINK)
Every few years, I find myself going back to classic noir: Hammet, Cain, Highsmith.
I used to think it was the breathless, hard narratives drawing me in. But I’ve realized
it’s the writing I go back for—the clear rhythm and compression, an almost musical
quality that reminds me how voice can rise from the first sentence to hold a story
together, almost like the melody of a song. It reminds me of an old saying: The only
truly American arts are jazz and noir. In this class, we’ll listen to some classic noir
together, for its dialogue and pacing, its syncopation and simplicity. We’ll write
a line or two and see what we can learn by taking the crime out of crime fiction.
VISITING WRITERS
One session | Saturday, Jan 11 | 1–4 pm
General: $200 | Member: $180
FICTION
GISH JEN
WHERE’S THE STORY?
The classic short story focuses on what William Faulkner called “the human heart
in conflict with itself.” In this workshop, we will analyze a story to see how that
conflict drives story structure. We will then generate story ideas, evaluate them
with the help of our classmates and, time allowing, write an opening paragraph
ripe with promise. Experienced writers welcome, but no experience necessary.
One session | Thursday, Feb 20 | 1–4 pm
General: $200 | Member: $180
PROSE
STEVE ALMOND
THE ULTIMATE CRAFT CLASS: HOW TO NARRATE,
CONSTRUCT CHARACTER, AND BUILD SCENES
In this two-day intensive workshop, Almond will lead participants through sev-
eral essential craft lessons. Participants will learn how to create dramatic scenes,
unforgettable characters, and an irresistible narrator. They will complete in-class
exercises to help bring the lessons home. The craft concepts discussed apply to any
genre of prose and to any level of writer. Come prepared to learn more in two days
than you thought possible. This class includes a lunch break.
Two sessions | Saturday & Sunday, Mar 14 & 15 | 10 am–3:30 pm
General: $500 | Member: $450
3YOUR OBSESSION IS YOUR MUSE:
STEVE ALMOND DON’T FIGHT IT, WRITE IT!
PROSE
One session Most good writing—whether fiction or nonfiction—arises from a writer’s obses-
Monday, Mar 16 sions. In this intensive session, we’ll discuss how to explore our obsessions on the
2–5 pm page, without falling prey to self-absorption or sentiment. We’ll start by looking
General: $150 | Member: $135 at the work of folks such as Joan Didion, George Saunders, and others, and then
generate some work in class by confessing to our own obsessions. Check your
inhibitions at the door.
STEVE ALMOND WHERE YOUR STORY STARTS: DOUBT & DISEQUILIBRIUM
One session Too often in our lives (off the page and on) we seek refuge in a sense of assurance
PROSE
Monday, Mar 16 and psychological stability. But our most intense and lasting experiences are one
6–9 pm that involve doubt and disequilibrium. So what happens when we focus on those
General: $150 | Member: $135 moments, when we allow ourselves to return to those lost weeks and months and
years? Looking at the work of Charles D’Ambrosio, Lorrie Moore, Cheryl Strayed,
and other modern masters, we’ll dig deep into this troubled terrain, and use an in-
VISITING WRITERS
class writing assignment to discover what truths we can reveal.
ANTHONY SWOFFORD THE PATH TO STORY
Two sessions Over this two-day generative workshop with Jarhead author Anthony Swofford,
PROSE
Saturday & Sunday, Feb 29 & Mar 1 you will read the first pages of a number of fiction and nonfiction works and dis-
10 am–2 pm cuss “the path” into the works for the reader and the writer. With a series of cre-
General: $240 | Member: $216 ative prompts and group discussion, you’ll establish tactics for finding a way into
story. On the second day, small groups will workshop each writer’s new works and
their steps toward establishing a world and narrative drive. Each participant will
leave the workshop with the first pages of a new work-in-progress or a refreshed
approach to established material.
MITCHELL S. JACKSON THE TOOLS OF VOICE
One session One of the most effective ways in prose to, as Susan Sontag says, “preserve the works
PROSE
Friday, Feb 28 of the mind against oblivion,” is to craft a distinctive voice. Voice is made up of
12–3 pm qualities that include diction and structural choices, syntactical usage, and a mind-
General: $90 | Member: $81 fulness of the acoustics of language. This craft lecture will present philosophies on
voice and some of the rhetorical tools used to compose a remarkable one. It will in-
clude examples of those tools from published excerpts, as well as guide participants
through a critique of those examples. The lecture will conclude with an exercise
designed to challenge participants to employ some of the strategies covered.
COURTNEY MAUM FALL BACK IN LOVE WITH YOUR WRITING
MIXED GENRE
One session Acclaimed author Courtney Maum will teach writers how to reengage with texts
Wednesday, Feb 19 they’ve fallen out of love with or are simply struggling to complete. Whether you
1–4 pm are stuck in the mucky middle of a first novel draft, can’t find the meat in your
General: $90 | Member: $81 nonfiction essay, or simply feel like doing anything but going to your desk to write,
Courtney has solutions and exercises to bring focus (and fun!) back to your writ-
ing. Each student will be asked to bring in two pages of a project that is challenging
them in some way. Open to all levels and writers of all genres, this will be an open,
invigorating, and reassuring workshop for creatives who want their magic back.
4KIM STAFFORD SPEAK BEAUTY TO POWER
MIXED GENRE
One session Earth calls for testimony, but not stridency. In poetry and episodic prose, we will
Saturday, Feb 15 forge testimony to protect places we love, and sustain the planet, with utterance
10 am–5 pm kin to natural beauty. As a river testifies, so shall we—flow, light, grace. As a tree
General: $180 | Member: $162 testifies, so shall we—a lofty intelligence, rooted in fact. The loud conversations
of our time require winsome witness for the wild world. After writing together,
we will explore ways to make our witness public. This class includes a lunch break.
NATANYA PULLEY SENSING YOUR CHARACTER
One session FICTION Paying attention to the five main senses when describing a character is important.
Wednesday, Feb 12 However, humans have as many as twenty different ways to physiologically perceive
12–3 pm the world around us (including balance, temperature, and proprioception). In this
General: $90 | Member: $81 class, we’ll generate characters by considering multiple senses and sensations. We’ll
also look at examples of how style and aesthetics help readers sense characters be-
fore we workshop our newly created character sketches, scenes, and/or descriptions.
VISITING WRITERS
RAYMOND FLEISCHMANN CLOSE ENCOUNTERS OF THE THIRD-PERSON KIND
One session Point of view is one of the most complex elements of writing fiction, and third
FICTION
Monday, Jan 13 person POV can be especially nuanced in terms of its tone, language, and narrative
6–9 pm distance. This class will take a look at the qualities that comprise so-called “close
General: $90 | Member: $81 third-person” POV and explore some in-class exercises to hone our use of it.
TAWNYA BHATTACHARYA TV PILOTS AND FEATURE FILMS: INTENSIVE WORKSHOP
SCREENWRITING
Two sessions It doesn’t matter whether you’re writing TV or film—a successful script includes
Saturday & Sunday, Jan 18 & 19 many of the same ingredients. On the first day of this intense immersion work-
10 am–4 pm shop, you’ll learn how to create the critical elements needed in the development
General: $270 | Member: $243 process, including: loglines, conceits, compelling characters and formidable oppo-
nents, inciting incidents, conflict and stakes, catalyst relationships, and the “why
now.” On the second day, you’ll learn how to build a strong structural foundation
for your movie or TV script, including: how TV and film stories are structured;
how to build individual storylines; how to create thrilling act breaks; how to track
your character’s development; and how to illustrate a story’s themes for a TV or
film audience. This class includes a lunch break.
FOR MORE VISITING WRITER CLASSES, VISIT HUGOHOUSE.ORG.
5FICTION
tiered classes
Feel confident in progressing through your writing in one of our tiered classes. Each course is
designed to equip you with the appropriate tools, skills, and an understanding of the diverse voices at
work in each genre. You may self-select into classes based on where you feel comfortable, and you are
welcome to take classes as many times as you would like.
FICTION II ALMA GARCÍA
In Fiction II, we’ll briefly review the basics of character, conflict, and plot, then Eight sessions
focus on the building blocks of point of view, setting, scene, pacing, and dialogue, Thursdays, Jan 30–Mar 19
with an eye toward creating a compelling voice that draws the reader into—and 7:10–9:10 pm
through—a well-rounded story. Students will do in-class or take-home writing General: $380 | Member: $342
exercises, read and discuss published stories, and workshop their own drafts in a
supportive environment with their teacher and peers.
FICTION II (ONLINE) ANCA SZILÁGYI
In this class, we will focus on point of view, scene construction, and Eight sessions
dialogue through reading published examples, writing prompts, and Feb 5–Mar 25
FICTION
workshop of each other’s writing. This course takes place online through our Online
partners at Wet Ink, and classes can be done at your own pace throughout the General: $380 | Member: $342
week.
FICTION III SCOTT DRISCOLL
This class will build upon craft learned in Fiction II. Students can expect advanced Ten sessions
readings, regular workshops, and feedback from their classmates and instructor. Mondays, Jan 13–Mar 30
We’ll look at each other’s drafts with an eye to properly balance the elements of [No class Jan 20 & Feb 17]
story, such as plot, character, voice, and pacing, into a well-structured, thematically 7:10–9:10 pm
resonant whole that keeps the reader turning the pages. As time allows, we’ll also General: $460 | Member: $414
examine published work that inspires and instructs.
general
SPECULATIVE FICTION WORKSHOP RUTH JOFFRE
All Levels | Bring your space opera, your urban fantasy, your gothic horror, your Six sessions
portal to another dimension. This workshop is open to anyone working under the Mondays, Jan 13–Mar 2
umbrella of speculative fiction. Students should come prepared to turn in at least [No class Jan 20 & Feb 17]
one story or novel excerpt for workshop. 7:10–9:10 pm
General: $290 | Member: $261
6general
GETTING INSIDE YOUR CHARACTER'S HEAD LIZA BIRNBAUM
All Levels | This workshop will focus on techniques to get your characters’ rich inner Eight sessions
lives on the page. We’ll use in-class writing activities and close readings of masters Thursdays, Jan 23–Mar 12
of interiority like Virginia Woolf, Toni Morrison, and Lydia Davis to jump-start 7:10–9:10 pm
our stories, and we’ll discuss our own fiction in a supportive, generative workshop General: $380 | Member: $342
setting. You’ll leave with at least one revised piece and a greater understanding of
how form, style, and psychology combine to create complex characters.
HERE, THERE, THEN, NOW:
WRITING TIME TRAVEL AND ALTERNATE DIMENSIONS BJ NEBLETT
Introductory / Intermediate | This two-day, six-hour intensive offers instruction Two sessions
and writing exercises designed to explore how to make time travel and alternate Sundays, Jan 26–Feb 2
dimensions work in sci-fi and fantasy. Students will get the chance to discuss, write 1–4 pm
scenes and passages, and get their work critiqued. General: $170 | Member: $153
WRITING SUSPENSEFUL SCENES KEVIN O’BRIEN
All Levels | Whether you’re penning a mystery, literary fiction, science fiction, or One session
romance story, suspenseful scenes are a major ingredient in practically every genre. Saturday, Feb 8
FICTION
New York Times bestselling thriller author Kevin O’Brien will discuss how to de- 1–4 pm
velop suspense through characterization, pace, description, and point-of-view. A General: $90 | Member: $81
working author for over 22 years, he’ll also discuss how to market your work and
the business side of publishing.
HOW TO GET AWAY WITH MURDER WENDY KENDALL
All Levels | Imagine: You’re designing a murder to blame on the villain of your Six sessions
choice, throwing suspicion on innocent bystanders, and plotting the deed so that Mondays, Feb 24–Mar 30
you walk away unscathed. In this class, we’ll learn how to create this crime for pub- 7:10–9:10 pm
lication, then use this dynamic perspective to apply the ingredients that create the General: $290 | Member: $261
MOM (motivation, opportunity, means) of all mysteries.
SEARCHING FOR YOUR ROMANCE VOICE AND STYLE EILIS FLYNN
All Levels | What’s the difference between a romantic story that grabs your imag- Four sessions
ination and one that puts you to sleep? The voice—so let’s go on a voice hunt. Saturdays, Mar 7–28
We’ll examine well-known romances and authors to figure out what makes them 10 am–12 pm
so distinctive. By digging into the secrets of voice and style, we’ll find out how to General: $240 | Member: $216
write stories that keep readers riveted.
MAGICAL REALISM STEPHANIE BARBÉ HAMMER
All Levels | We’ll briefly discuss some of the arguments surrounding the origins and Two sessions
nature of magical realism (Latin American, German, or international? Modern, Thursdays, Mar 19–26
premodern, or postmodern? Is it a genre or a style?), then use creative jumping-off 5–7 pm
points from the work of Gabriel García Márquez, Aimee Bender, Ryka Aoki, Leslie General: $120 | Member: $108
Marmon Silko, Colson Whitehead, Stacey Levine, and others.
7short story
FLASH FICTION WORKSHOP JOE PONEPINTO
All Levels | Students of all abilities and experience are welcome to take this class, Ten sessions
which is designed to produce a body of flash fiction work that can serve as a cache Thursdays, Jan 16–Mar 19
of journal submissions, as well as the basis for a collection of stories. The class will 5–7 pm
cover flash fiction story genesis, technique, writing, revision, and submission, as General: $460 | Member: $414
students compose one or more works per week.
STORY STRUCTURE FOR FICTION WRITERS (ONLINE) JEFF BENDER
All Levels | Up in the Air author Walter Kirn says the “hack-screenwriter” Six sessions
has a better sense of storytelling than the intermediate fiction writer. Jan 25–Feb 29
Why is that? What do screenwriters know that novelists don’t? We'll examine Online
Christopher Vogler’s 12 Stages of Storytelling and test the stages on stories we General: $290 | Member: $261
know. Students will have the opportunity to outline and workshop their own
stories. This course takes place online through our partners at Wet Ink, and classes
can be completed at your own pace throughout the week.
STRANGE STORIES: PUTTING THE UNCANNY
IN YOUR FICTION (ONLINE) LAURA SCOTT
FICTION
All Levels | The unusual is thriving in contemporary storytelling. A man Four sessions
made famous for playing a vampire on TV is haunted by a real ghost; Feb 5–26
something is wrong at a family’s new house. Maybe art is imitating our strange Online
times. Considering writers such as Kelly Link and A.S. Byatt, we will find out how General: $240 | Member: $216
the strange can get us closer to the truth. Plan to draft two stories and discuss one
of those stories with the class. This course takes place online through our partners
at Wet Ink, and classes can be completed at your own pace throughout the week.
WRITE A STORY IN A SINGLE SCENE LAURA SCOTT
All Levels | Some of the best stories get everything done in a single scene, no set One session
change needed. We will look at examples of these small stories from masters of Sunday, Mar 15
the form such as Yasunari Kawabata and Lucia Berlin and develop our own stories 1–4 pm
within the structural limitations of a single scene. Expect to draft two very short General: $90 | Member: $81
stories.
novel
WRITE YOUR NOVEL NOW SUSAN MEYERS
Introductory / Intermediate | Whether you’re just getting started or simply need a Two sessions
recharge, this intensive “boot camp” experience will give you the tools you need to Saturday & Sunday, Jan 25 & 26
start (and finish!) your novel. Through a study of professional examples, we’ll look 1–5 pm
at foundational concepts of novel writing, from hooking the reader and develop- General: $240 | Member: $216
ing a plot to shaping chapters and keeping momentum. We’ll engage in a variety
of writing exercises, study approaches to outlines and planning, workshop student
drafts, and discuss possibilities for publication.
8novel
STUCK IN THE MIDDLE:
SEVEN PLOT POINTS OF TRANSFORMATION JENNIFER HAUPT
Intermediate | Whether you are in the honeymoon period of the first hundred One session
pages of your story or stuck in the middle, creating seven key plot points that Sunday, Mar 22
marry character development and page-turning action will help you sail through 1–4 pm
to the end. We’ll engage in discussion and writing exercises to enable you to design General: $90 | Member: $81
your own unique version of these critical story junctures. You’ll leave with a better
understanding of your book’s overall structure and a roadmap for creating a logical
and organic transformation of your primary character.
young adult / middle grade
NAILING YOUR OWN MIDDLE-GRADE VOICE SARAH ALLEN
All Levels | This idea-generative course will focus on mining each participant’s Four sessions
life for unique story elements. We’ll focus on crafting these concepts in the most Wednesdays, Jan 15–Feb 5
effective way possible, discussing character arc, story structure, scene, theme, and 5–7 pm
voice. We’ll look at everything from overall structure to small-scale sentence-level General: $240 | Member: $216
syntactical choices, examining examples from modern and classic middle-grade
FICTION
texts, to see how individual themes influence voice.
Many classes in the Prose
section cover general fiction
techniques. See pages 13–15.
9NONFICTION
tiered classes
Feel confident in progressing through your writing in one of our tiered classes. Each course is
designed to equip you with the appropriate tools, skills, and an understanding of the diverse voices at
work in each genre. You may self-select into classes based on where you feel comfortable, and you are
welcome to take classes as many times as you would like.
CREATIVE NONFICTION II (ONLINE) GAIL FOLKINS
In this class, we will delve deeper into styles of creative nonfiction, in- Eight sessions
cluding memoir and personal essay forms. Students will consider more Jan 23–Mar 12
intensive readings and prompts, and workshop their own nonfiction pieces. This Online
course takes place online through our partners at Wet Ink, and classes can be done General: $380 | Member: $342
at your own pace throughout the week.
CREATIVE NONFICTION II ANNE LIU KELLOR
NONFICTION
This class is for those familiar with the basics of creative nonfiction. Each week we Eight sessions
will freewrite from in-class prompts, experiment with point of view, share aloud, Thursdays, Feb 6–Apr 2
and listen. We will also read and discuss a diverse range of voices and structures [No class Feb 20]
found in essays/memoir excerpts by authors such as Hampl, Yuknavitch, and 7:10–9:10 pm
Vuong. Students will receive feedback on a piece and have the option to work- General: $380 | Member: $342
shop with the class.
general
WRITING NATURE JOHN FARNSWORTH
All Levels | In this class, we’ll take an exploratory approach to both environmental Ten sessions
writing and nature writing while developing the skills to evoke place and describe Wednesdays, Jan 8–Mar 11
the natural world. During the first half of the course, various approaches to nature 7:10–9:10 pm
writing will be investigated as we develop the craft of observation and description. General: $460 | Member: $414
We will also consider eco-critical concerns and discuss contemporary articles that
are exemplary of craft. The second half of the course will take the form of a tradi-
tional writing workshop where students hone their nature-writing skills.
WRITING HOME MARGOT KAHN
All Levels | Home can be where we learn to first understand our place in the world, Four sessions
and a place we return to again and again for answers about how to be. Looking at Mondays, Mar 2–23
example essays by writers like Elissa Washuta, Amanda Petrusich, Jane Wong, and 5–7 pm
Jennifer Finney Boylan, we will discuss how choices in form, voice, and content General: $240 | Member: $216
work in a variety of “home” narratives, from the sprawling multi-generational
family story to the domestic vignette. We’ll work through a series of prompts to
complete a vignette each week that may serve as a collaged story, the beginning of
an essay, or sections of a larger work.
10general
TRUE STORIES, REAL PEOPLE:
WHEN YOUR ‘CHARACTERS’ KNOW WHERE YOU LIVE NEAL THOMPSON
Introductory / Intermediate | How do you bring nonfiction subjects to life without Four sessions
getting sued—or stabbed? This class will cover the challenges and thrills of writing Thursdays, Mar 5–26
about real human beings—public figures, dead people, friends, and trickiest of all: 5–7 pm
family—in narrative nonfiction, journalism, essay, biography, and memoir. We’ll General: $240 | Member: $216
read and discuss examples of writers who deftly craft true stories about real-life
subjects. We’ll do a few in-class and take-home writing exercises, and discuss our
work. We’ll also host a special guest author visit.
RESEARCHING AND WRITING TRUE CRIME REBECCA MORRIS
Introductory | No matter when the crime in question took place, crime-writing is Four sessions
different than any other genre. It requires digging for documents, finding sources, Wednesdays, Mar 11–Apr 1
conducting sensitive interviews, being at the scene of the crime, and researching 7:10–9:10 pm
cold cases. This class will teach you how to do those things, as well as explore dif- General: $240 | Member: $216
ferent ways to break in to the market, from books to podcasts to daily journalism
NONFICTION
to television.
essay
THE ROMANCE OF TRAVEL WRITING NICHOLAS O'CONNELL
Introductory / Intermediate | Travel writing sounds too good to be true. You head One session
off to France, Hawaii, or the Swiss Alps, take some notes, shoot some photos, and Saturday, Jan 18
then write articles that sell for enough to pay for the entire trip. This course will 1–4 pm
introduce you to the fundamentals of travel writing, including scene, character General: $90 | Member: $81
sketches, dialogue, and point of view, as well as how to pitch those stories to an
editor at an appropriate publication.
WOMXN OF COLOR WRITING INNOVATIVE NONFICTION ANNE LIU KELLOR
All Levels | This class is for womxn of color who want to read and learn from Six sessions
contemporary womxn writers of color, such as Terese Marie Mailhot, Khadijah Sundays, Jan 19–Mar 1
Queen, Seo-Young Chu, and more. Each week we’ll read and discuss 2–3 lyric es- 1–3 pm
says/memoirs and poems that explore themes such as family, race, gender, violence, General: $290 | Member: $261
love, identity, and ancestry. We’ll freewrite from prompts, share, and listen in a
supportive, nonjudgmental environment. Students will be encouraged to turn in
an essay to the instructor for extensive feedback.
INTRODUCTION TO FEATURE STORIES (ONLINE) MADELINE OSTRANDER
Introductory / Intermediate | The feature is a flexible form that allows Eight sessions
writers to combine a literary voice with the timeliness of newswriting— Jan 23–Mar 12
and get their work into top-tier, well-compensated publications. This generative Online
class teaches the art and pragmatism of feature-writing. Through exercises, readings, General: $380 | Member: $342
and discussion, you’ll develop enticing story ideas and learn to weave together the
characters, scenes, and “big idea” exposition that are characteristic of features.
11essay
WRITING THE OP-ED KATHLEEN ALCALÁ
Intermediate | The Seattle Times accepts brief letters for their op-ed page. At 650 One session
words, an opinion piece requires more shaping, but stretches your influence much Sunday, Feb 9
further. In this class, you’ll learn how to select a topic, choose the right words, 1–4 pm
and understand your audience. We will read and discuss examples, then write and General: $90 | Member: $81
discuss our own work. Writers should be comfortable working with an editor. A
list of tips will be provided.
memoir
NAIL YOUR FIRST CHAPTER INGRID RICKS
Introductory / Intermediate | Whether you’ve been laboring over your first chapter Four sessions
for months or are just getting started, this course is for you. Memoir author and Sundays, Jan 12–Feb 2
book coach Ingrid Ricks will teach you how to open and structure your first chap- 10 am–1 pm
ter in a way that grabs readers and lays the foundation for your memoir, alongside General: $290 | Member: $261
NONFICTION
narrative techniques that will bring your chapter to life. Each session includes 90
minutes of instruction time and an hour of writing/one-on-one meetings.
WRITE YOUR MEMOIR: HOW TO STRUCTURE, OUTLINE, INGRID RICKS
AND BRING YOUR STORY TO LIFE One session
Introductory / Intermediate | In this intensive crash-course, memoir author and Sunday, Feb 9
book coach Ingrid Ricks will arm you with the tools you need to effectively dive 10 am–5 pm
into your memoir. She’ll teach you the three most common story structure tech- General: $170 | Member: $153
niques and walk you through the simple outlining process she employs for every
book project she takes on. From there, she’ll delve into the six powerful narrative
writing techniques you need to bring your memoir to life. Be prepared to write!
This class includes a lunch break.
WRITING THE SELF:
THE HEROINE’S JOURNEY AS INSPIRATION FOR MEMOIR ANGELA SELLS
All Levels | Ushered into the mainstream by Joseph Campbell, mythic narratives Six sessions
have the power to enliven and enrich our day-to-day experiences. We will explore Saturdays, Feb 22–Mar 28
the literary, psychological, filmic, and cultural significance of an array of female- 1–3 pm
centric mythological narratives, images, and historical persons. Each class focuses General: $290 | Member: $261
on storytelling—specifically the Heroine’s Journey—as personal inspiration for
memoir writing.
NARRATIVE INTIMACY IN LITERARY NONFICTION SARAH TOWNSEND
All Levels | A recent New York Times article refers to a new wave of memoirs drawing Four sessions
on the intimate. While intimacy of voice in narrative nonfiction is not new, readers Tuesdays, Mar 10–31
continue to seek deep human connection through books. Together, we will read 7:10–9:10 pm
excerpts of writers who hold their readers close, including Sarah Manguso, Warsan General: $240 | Member: $216
Shire, and Ta‑Nehisi Coates. Through close readings, freewriting, and analysis of
craft, participants will experiment with technique for a new or existing project.
12PROSE
general
THE FEARLESS PEN BETH SLATTERY
All Levels | For many writers, there is nothing as anxiety-inducing as the blank Eight sessions
page; this class is designed to help fearful writers find the courage needed to begin, Tuesdays, Jan 14–Mar 3
or finish, a project. We will look at writers who admit to anxiety, uncover reasons 10 am–12 pm
why we are fearful, and practice techniques that will help us face those fears and General: $380 | Member: $342
produce. Also, we will write. A lot. Students will leave class with 25 pages written
toward a project and instructor feedback.
POINTS OF VIEW WAVERLY FITZGERALD
All Levels | This class offers writers of fiction and nonfiction a chance to experi- Six sessions
ment with points of view. We’ll start with the obvious first-, second-, and third Tuesdays, Jan 14–Feb 18
person points of view, but then look at more complex options: the unreliable 5–7 pm
narrator, omniscience, and shifting points of view. We’ll also explore the effects General: $290 | Member: $261
created by varying distance and position in time. You can work on one piece six
ways or let the different options inspire six new pieces.
PLOT OR NOT TARA ATKINSON
PROSE
All Levels | Is it a juicy plot that keeps pages turning, or something else? We’ll Four sessions
read stories and craft essays that examine the nature of plot, tension, pacing, and Wednesdays, Jan 15–Feb 5
structure, then complete generative exercises and collaborative writing projects for 7:10–9:10 pm
hands-on exploration of what makes a story go. Writers of all levels can use this class General: $240 | Member: $216
to find new ideas—and maybe even cure writer’s block.
FINISH YOUR MANUSCRIPT—REALLY! JENNIFER HAUPT
Intermediate / Advanced | Sometimes it takes a stealth combo of craft tactics and Ten sessions
psychological warfare to overcome the enemies of creativity: resistance, self-doubt, Sundays, Jan 19–Mar 22
and procrastination. This class is designed for people who have at least 100 pag- 10 am–12 pm
es written of a novel or memoir and are committed to finishing it—really! We’ll General: $460 | Member: $414
work on exercises designed to motivate and facilitate forward motion, with realistic
goal-setting and accountability in class and daily check-in with a Facebook group.
Students will workshop in class and complete structural exercises. Required texts:
The War of Art by Steven Pressfield and The Anatomy of Story by John Truby.
SUSPENSEFUL WRITING JOSHUA MARIE WILKINSON
All Levels | Why are some books impossible to put down? It’s simple: When an Six sessions
important outcome is unknown, people can hardly think of anything else. It’s that Wednesdays, Jan 22–Feb 26
yearning to turn the pages in order to find out what happens next. Suspense is what 5–7 pm
makes great stories so absorbing, and it’s why your favorite show is so ridiculously General: $290 | Member: $261
bingeable. We’ll explore extremely practical methods for writing suspensefully, and
we’ll learn how to make scenes that leave the reader burning to turn pages.
13general
WRITING ABOUT YOUR CHILDHOOD ANDREW PALMER
All Levels | Childhood provides a rich vein of material for a writer—if you know Eight sessions
how to tap it. In this class, we’ll explore strategies for shaping stories about our Mondays, Jan 27–Mar 23
childhoods and making them meaningful to readers unfamiliar with our lives. [No class Feb 17]
We’ll examine stories about childhood by writers like Elena Ferrante, Annie 7:10–9:10 pm
Dillard, and Marcel Proust for inspiration and guidance. And you’ll share your General: $380 | Member: $342
own writing about your childhood in a supportive workshop setting.
SHOW AND TELL BETH SLATTERY
All Levels | Though many of us have heard the advice “show, don’t tell,” this work- Six sessions
shop will embrace the practice of showing and telling. We will find answers to di- Tuesdays, Jan 28–Mar 3
lemmas such as when you should rely on just-the-facts-ma’am narrative and when 5–7 pm
you should linger in scene. We will read and discuss authors who excel at this General: $290 | Member: $261
combination (Adichie, Didion, Mura, Ó’Faoláin, etc.). Students will workshop a
story, essay, or excerpt from longer piece and can expect significant feedback from
the instructor.
PHILOSOPHY FOR WRITERS PART III CHARLES MUDEDE
All Levels | Philosophy for Writers Part III is for any writer, regardless of previous Six sessions
PROSE
enrollment in a Philosophy for Writers course. In this class, we will enter philos- Tuesdays, Jan 28–Mar 3
ophy from a path that starts with Adam Smith’s The Theory of Moral Sentiments 7:10–9:10 pm
and ends with Judith Butler’s The Psychic Life of Power: Theories in Subjection. In General: $290 | Member: $261
between these works are Neitzsche’s dizzying On the Genealogy of Morality and
Foucault’s dazzling Discipline and Punish. Though these works focus on the na-
ture and structure and limits of human morality, the class will also examine their
literary value and beauty. If you are a poet or a writer who wants more poetry in
their prose, join us on this speculative adventure.
FROM HISTORY TO STORY: WRITING YOUR LIFE (ONLINE) SUSAN MEYERS
Introductory / Intermediate | You’ve got a life story to tell, but how can Eight sessions
you turn history into a story? What should you include? And what should Feb 4–Mar 24
you leave out? Moreover, how can you make your memories interesting to a reader? Online
This class explores storytelling techniques from memoir to autobiographical fiction General: $380 | Member: $342
to help you bring your story to life. We’ll consult writers like Tim O’Brien, Maxine
Hong Kingston, and David Sedaris, and we’ll use writing exercises to help you launch
your own writing project. This course takes place online through our partners at Wet
Ink, and classes can be completed at your own pace throughout the week.
ALTERNATIVE STRUCTURES, FAMILIAR PATTERNS DIANA XIN
Intermediate | Each piece we set out to write presents endless choices and decisions. Six sessions
By studying the structures and patterns that often emerge from creative chaos, we Wednesdays, Feb 12–Mar 18
will explore strategies for designing a story to amplify its desired effects. Using Jane 7:10–9:10 pm
Alison’s Meander, Spiral, Explode as a jumping-off point, we will review stories General: $290 | Member: $261
from Margaret Atwood, Stuart Dybek, Carmen Maria Machado, and others. Using
prompts from our readings, we will generate and workshop new work.
14general
WOUNDED LITTLE LIARS:
CHARACTERS IN FICTION AND NONFICTION SONORA JHA
All Levels | These people in your stories . . . Who hurt them? Who loved them One session
once and left them? What are your characters doing to their world and themselves Saturday, Feb 15
because of their wounds? In this one-day deep-dive into your characters’ truths 1–5 pm
and lies, we will read and write layers and nuances into your characters and render General: $120 | Member: $108
them fragile, funny, fallible, and ultimately unforgettable.
THE ART OF SUBTEXT PIPER LANE
All Levels | Charles Baxter claims that the greatest fallacy of modern storytelling Four sessions
is that everyone is always listening to each other. In truth, we’re distracted, caught Sundays, Feb 16–Mar 8
up in our own lives, and in general quite terrible at listening and responding to 1–3 pm
each other, especially those we care about. How do you get your characters talking General: $240 | Member: $216
honestly and vulnerably to one another? In this generative workshop, we’ll talk
about how subtext can elevate your dialogue, while also learning how to listen to
the musicality, oddness, and beauty of the conversations that surround us.
COMEDIC STORYTELLING MARGOT LEITMAN
All Levels | There’s an art to making painful, strange, or even mundane life experi- One session
PROSE
ences funny. The students will learn to dig inside their own lives to find humorous, Sunday, Feb 23
relatable material to unify the audience, making them laugh at their own experi- 1–4 pm
ences through the student’s performance. Students will leave class with a strong General: $90 | Member: $81
understanding of how to structure a story for comedic purposes. Additional focus
will be on getting through the fear of being judged for our honesty.
FROM START TO FINISH: GET TO A DRAFT IN ONE DAY KRISTEN MILLARES YOUNG
All Levels | In this generative workshop, you’ll learn to cultivate deadline discipline One session
with a series of timed prompts based on Anzaldúa’s “How to Tame a Wild Tongue,” Sunday, Mar 1
applicable to both fiction and creative nonfiction. Together, we will create new 10 am–5 pm
short stories, essays, or novel chapters, going from conception to completion of a General: $170 | Member: $153
draft during class hours. Guided by Anzaldúa’s genius, you’ll produce new prose
and learn the magic of the timer. Bring your laptop/notebook. This class includes
a lunch break.
TRUTH OR FICTION?: WRITING LIFE STORIES SUSAN MEYERS
Introductory / Intermediate | Writing about real life can be tricky. You may not Two sessions
remember all the details—or, you may want to change information to protect Saturday & Sunday, Mar 7 & 8
people or make a story more interesting. But how much is OK to change? This 1–5 pm
class explores memoir and autobiographical fiction to examine how “true” your General: $240 | Member: $216
life stories should be. We’ll consult writers like Patricia Hampl, David Sedaris, Tim
O’Brien, and John D’Agata; and we’ll use writing exercises to help you begin your
own personal writing project.
15MIXED GENRE
poetry & prose
WRITING TRAUMA TARA HARDY
All Levels | Many of us write what haunts us—in order to heal, discover, exorcise, Six sessions
make meaning of, celebrate survival, and/or reach for connection. In a highly sup- Thursdays, Jan 9–Feb 13
portive environment we’ll explore access points to writing trauma, self-care for the 5–7 pm
process, and sticky issues of impact (on self and others). We’ll generate new work, General: $290 | Member: $261
focus significantly on craft, and discuss the joys and challenges of writing about
trauma. Students will have the opportunity to receive feedback on their writing
from the instructor at least once.
GENERATING SHORT FORMS:
LYDIA DAVIS AND THE AMERICAN PROSE POEM DEBORAH WOODARD
All Levels | In this class, we’ll focus on Lydia Davis, known for the extreme brevity Six sessions
of her narratives, in relationship to the American prose poem tradition. Partici- Saturdays, Jan 18–Feb 22
pants may respond to assignments with prose poems, “regular” poems, aphorisms, 1–3 pm
MIXED GENRE
postcard messages, movie scripts, grocery lists, mini-essays, flash fiction, etc. As General: $290 | Member: $261
long as responses are reasonably pithy, they qualify. Weekly writing prompts and
read-arounds. Required texts: The Collected Stories of Lydia Davis (Picador, 2009);
Great American Prose Poems, ed. Lehman (Scribner, 2003).
FOLLOW THE THREAD AMBER FLAME
All Levels | Develop work along a through-line or theme in this generative work- Six sessions
shop aimed at getting you closer to manuscript creation. Students should come with Thursdays, Jan 23–Feb 27
a selection of work to tie together and a theme to develop through further writing. 5–7 pm
This class is highly interactive and students should be open to peer feedback and General: $290 | Member: $261
ready to both generate and revise new work. Prompts will be provided; expect to
create a general skeleton for a manuscript.
WRITING OUR OBSESSIONS CAROLYNE WRIGHT
All Levels | Our writing is inspired, in part, by our obsessions—those images, Six sessions
memories, and concerns we keep spinning in our heads. We will explore ways mod- Saturdays, Jan 25–Feb 29
ern and contemporary poets and writers effectively write their obsessions, consid- 10 am–12 pm
ering the relationship of form and content and paying attention to rhetorical and General: $290 | Member: $261
experimental devices (often unconsciously chosen): repetition, recursion, ranting,
listing, among others. We will write the stories we find ourselves repeating, and
explore the many options available to us in narrative voice and storytelling.
NARRATIVE RECLAMATION: USING STORIES TO HEAL ZAIN SHAMOON
All Levels | This class is dedicated to the role of storytelling in finding relief from Two sessions
distress. Students in this course will learn how storytelling can be used for personal Saturday & Sunday, Feb 1 & 2
and communal reclamation, including the confrontation of historical pain. Stu- 10 am– 1 pm
dents will understand the role of personal storytelling in counteracting the impact General: $170 | Member: $153
of trauma and gain skills in using storytelling toward their empowerment. This
course will include a discussion component and the development of a new piece.
16poetry & prose
HOW THE BODY HOLDS ITS STORIES:
AN EMBODIED WRITING WORKSHOP JORDAN ALAM
All Levels | How do our bodies hold on to experiences? In this course, writers will Six sessions
come together to consider the physical act of writing—how we translate embodied Saturdays, Feb 1–Mar 7
knowledge into language on the page. By moving our bodies and engaging our 10 am–12 pm
senses, we will generate new writing that touches on our vulnerability and articu- General: $290 | Member: $261
lates hard-to-reach memories. Writers of all genres are encouraged to participate;
there is something for the poet, memoirist, and fiction writer in this class.
MORRISON, LORDE, AND SHANGE: POETRY, PLACE,
AND PROTEST ACROSS GENERATIONS AND GENRES ANASTACIA-RENEÉ
All Levels | We will critically read, intensely discuss, unpack, and explore the mas- Six sessions
terful words and the social and literary impact of Toni Morrison, Audre Lorde, Tuesdays, Feb 18–Mar 24
and Ntozake Shange. You’ll create a collection of three pieces of mixed-genre 7:10–9:10 pm
work using Morrison (fiction), Lorde (poetry), and Shange (monologue) as your General: $290 | Member: $261
foundation. Classes will be devoted to studying each writer, creating first drafts
MIXED GENRE
and revisions, and polishing your work. Participants will have the opportunity to
share their work publicly in a group reading one week after the last class.
UNDER THE SKIN: AN EXPLORATION OF AUTOTHEORY ARIANNE ZWARTJES
Intermediate / Advanced | Since Maggie Nelson’s 2015 book The Argonauts refer- Two sessions
enced autotheory, the term has had some buzz in the literary world. Autotheory— Saturday & Sunday, Feb 22 & 23
loosely defined as writing that mixes embodied personal narrative with philosophy, 10 am–2 pm
criticism, or theory—is often hybrid not only in discipline, but also in genre and General: $240 | Member: $216
form. In this weekend writing intensive, we will explore autotheory through au-
thors such as Christina Sharpe, Maggie Nelson, Bhanu Kapil, Chris Kraus, and
Gloria Anzaldúa, with a mixture of generative writing, reading, and discussion.
WRITING TO THE MOON AND BACK SIERRA NELSON
“The moon making a poem possible . . . what can we say about that?” —Mary Ruefle Six sessions
All Levels | 50 years after the lunar landing, let’s look toward the moon anew. This Mondays, Feb 24–Mar 30
generative class, open to all genres, features eclectic writing experiments inspired 7:10–9:10 pm
by scientific, esoteric, and mythological ideas about the moon to jump-start our General: $290 | Member: $261
creativity and playfully upend clichés. The class will culminate in a small folio of
new lunar-infused work. Most writing will take place in class with some observa-
tion homework; there will be an optional conference with the instructor at the end.
#OWNVOICES: DIGITAL STORYTELLING (ONLINE) RACHEL WERNER
All Levels | Digital storytelling—the single or combined use of text, Four sessions
images, video, audio, social media (like ‘tweets’ or ‘bookstagrams’), or Feb 27–Mar 19
interactive elements (such as live chats)—is a powerful way for writers to show- Online
case diverse narratives. This course will focus on how to craft such elements to General: $240 | Member: $216
authentically produce and share our own #OwnVoices digital stories, as well as
explore additional aspects of online media to help you explore which tools are
right for you.
17poetry & prose
DEEP WORDPLAY ERICA SKLAR
All Levels | By stripping language of its meaning, creating words, and focusing on Four sessions
sounds, shapes, and pleasure, this is an opportunity to step away from purpose and Saturdays, Mar 7–28
instead experience the joy of words for their own sake. We’ll find surprise, meaning, 10 am–12 pm
and clarity in fresh ideas, and study and create everything from lyric essay to ekphrastic General: $240 | Member: $216
poetry to found poetry. Genre-bending will add to a vision of experimentation that
writers can employ inside or apart from more traditional forms.
graphic forms
COMICS: TAKING IT TO THE NEXT LEVEL DAVID LASKY
Intermediate | You’ve written and drawn a few (or several) pages of comics, and & GREG STUMP
now you’d like to take it further. Two expert cartoonists take you in new directions Six sessions
with a variety of challenging assignments and insightful lectures. You will begin at Saturdays, Jan 25–Feb 29
least two short comics in every class with the option of continuing on your own. 1–3 pm
MIXED GENRE
(There will be drawing as well as writing.) Expect some intense but very fun ses- General: $290 | Member: $261
sions resulting in lots of new material.
writing for performance
CREATIVE STORYTELLING THROUGH SONGWRITING SASSYBLACK
All Levels | Not so different from a poem or short narrative, songwriting is simply Six sessions
storytelling with a musical backdrop. Songs share intimate tales of heartbreak, joy, Mondays, Feb 10–Mar 23
rage, triumph, and defeat; understanding how to write them adds a useful skill to [No class Feb 17]
your writer’s toolbox. Work with internationally known singer, songwriter, and 5–7 pm
producer SassyBlack to learn foundational songwriting techniques used through- General: $290 | Member: $261
out the music industry. You’ll find out how to write to the beat of your own myth
or memoir as well as how to intermingle your words within the pulse of the musical
landscape of your choosing.
INTRODUCTION TO PLAYWRITING ANA PASTOR
Introductory | Students will be introduced to playwriting; the main mechanics, Six sessions
concepts, and theory behind a dramatic text; and the necessary tools to develop Thursdays, Feb 20–Mar 26
characters, conflicts, and engaging scenes for the stage. We will learn from great 7:10–9:10 pm
international playwrights (Harold Pinter, Sarah Kane, Dario Fo, Eugene Ionesco), General: $290 | Member: $261
as well as from each other through constructive feedback and active listening. The
course is very practical, with engaging writing exercises, games, and readings.
SCREENWRITING BASICS MICHAEL SHILLING
Introductory | Screenwriting is a unique art form that demands a passionate One session
understanding of its rules, conventions, and flexibilities. Over three jam-packed Saturday, Mar 21
hours, we’ll examine the essentials of the screenwriter’s art on the page and screen 1–4 pm
via a variety of movies such as The Favourite and Moonlight, and episodes of shows General: $90 | Member: $81
like Mad Men and Russian Doll.
18POETRY
tiered classes
Feel confident in progressing through your writing in one of our tiered classes. Each course is
designed to equip you with the appropriate tools, skills, and an understanding of the diverse voices at
work in each genre. You may self-select into classes based on where you feel comfortable, and you are
welcome to take classes as many times as you would like.
POETRY II (ONLINE) MICHELLE PEÑALOZA
This class will build upon the basics of poetic craft. Through more in- Eight sessions
tensive readings, prompts, discussions, and workshops, we will further Jan 13–Mar 2
develop our poetic technique. While Poetry I is aimed at introducing you to the Online
vast creative toolbox available to any poet, the goal of Poetry II is to explore in General: $380 | Member: $342
more detail those craft elements that are most often at play in your own growing
body of work. This course takes place online through our partners at Wet Ink, and
classes can be done at your own pace throughout the week.
POETRY II KEETJE KUIPERS
We will broaden our poetic horizons through reading and writing, and we’ll dis- Eight sessions
POETRY
cover our own personal writing goals, be that mastering a craft skill or publishing Tuesdays, Jan 21–Mar 10
a poem in a literary magazine. We will also read each other’s work with a keen 5–7 pm
eye, not only to improve these individual poems, but also in order to acquire the General: $380 | Member: $342
invaluable skill of revision as something that can be practiced on your own outside
of workshop.
POETRY III JANÉE BAUGHER
Are you ready for an intensive workshop? In a supportive atmosphere, we’ll take Ten sessions
our poems apart so we can put them back together again. In addition to the work- Tuesdays, Jan 7–Mar 10
shop, you’ll learn the primary, secondary, and tertiary concerns for deep revision, 5–7 pm
the language you need to be your own toughest critic, and strategies for pub- General: $460 | Member: $414
lishing. Completing weekly written feedback on your classmates’ poems will be
expected.
general
ORDERING POEMS FOR SUBMISSION AND PUBLISHING LISA GLUSKIN STONESTREET
All Levels | Bring ten pages of your poems. We’ll discuss and practice techniques One session
for ordering manuscripts for submission to journals, contests, and chapbook/ Saturday, Jan 18
book publishing. We’ll look at what the arc of a series or book can tell us about 10 am–3 pm
individual poems, and explore techniques for writing with a series or larger project General: $120 | Member: $108
in mind. You’ll then put together a packet of five poems to submit to the journal of
your choice. This class includes a lunch break.
19general
THE POEMS ONLY YOU CAN WRITE:
IDENTIFYING WHAT SETS YOU APART LISA GLUSKIN STONESTREET
All Levels | This one-session workshop will give you the chance to view your writ- One session
ing in the context of your own personal aesthetic(s) and obsessions. We’ll practice Sunday, Jan 19
multiple ways of using these factors to inspire new directions, generate new work, 10 am–1 pm
offer more productive and authentic feedback, and create the poems that only you General: $90 | Member: $81
can write.
POETRY WORKSHOP: A SACRED SPACE JEANINE WALKER
All Levels | The writing of poetry brings forth our deepest and most vulnerable Six sessions
selves; this workshop mirrors that process and provides a sacred space for discus- Tuesdays, Jan 21–Feb 25
sion, appreciation, and critique. In addition to leading a respectful and productive 10 am–12 pm
workshop, the instructor will lead the class in generative writing exercises inspired General: $290 | Member: $261
by poems published in contemporary literary journals, including work by poets
Solmaz Sharif, Jericho Brown, and Ocean Vuong. All students will have two poems
workshopped and engage in one deep revision.
GENERATING ASSOCIATIVE VERSE JUDITH SKILLMAN
POETRY
All Levels | How can we, as poets, access our subconscious minds—the land of Six sessions
dream where all that bizarre stuff surfaces? By reading Franz Wright, John Ashbery, Thursdays, Jan 30–Mar 5
Rae Armantrout, Sándor Csoóri, and other poets whose work jumps and leaps, 5–7 pm
we’ll explore the process of writing associative verse. We will read abundantly, General: $290 | Member: $261
address prompts, and draft new poems to workshop and revise. The reception
and articulation of what is perhaps any poet’s better half—his or her unconscious
wishes and desires—will be our goal.
POET AS CONJURER MICHELE BOMBARDIER
All Levels | As poets, we have the ability to deploy magic tricks such as raising the Six sessions
dead, time travel, and even reincarnation in order to bring power to the page. In Sundays, Feb 2–Mar 8
this class, we will explore various magic tricks and write some magic of our own. We 1–3 pm
will look at poems by Samuel Green, Vievee Francis, Adam Zagajewski, Yehoshua General: $290 | Member: $261
November, Dorianne Laux, and others. You will gain supernatural abilities to add
to your writing toolbox as well as several new drafts of your own poems.
THE TITLE AS FRAME AND INVITATION ELIZABETH AUSTEN
All Levels | Where do great poem titles come from? What makes a title “great,” One session
anyway? Through reading and discussing example poems by Angel Nafis, Alice Sunday, Feb 2
Oswald, Lucille Clifton, Thomas Lux and others, we’ll explore this essential and 1–4 pm
too-often overlooked craft element. Bring three of your own poems-in-progress, General: $90 | Member: $81
and we’ll practice titling them to entice the reader with a compelling frame and
invitation.
20You can also read
