FULL DAILY SCHEDULE, INCLUDING TIMES AND DAYS OF SPECIFIC WORKSHOPS, POSTING SOON.
FOR NOW, HERE'S A TASTE OF OUR OFFERINGS:
GENERAL CRAFT WORKSHOPS
Steve Almond—In the Bedroom: How to Write Erotic Scenes Without Shame
Full description posting soon.
Andrea Askowitz—Writing to the Ear: How to Tell True Stories Out Loud
There are certain techniques that apply to all storytelling, but especially to stories told out loud. In this workshop, we'll discuss and put into practice the principles of writing to the ear, such as: staying true to your natural voice, keeping sentences simple, avoiding gerunds, and ending sentences and paragraphs on the strongest note.
Lynne Barrett—Plot & Structure
Too much plot? None at all? Confused about how to handle the past or strengthen your story? This two-session workshop will look at the elements of plot and structure and how they are related. Topics covered will include conflict, complication, resolution, active characters, movement, change, scenic development, movement, presentation of time, and narrative design. Through examples, discussion, and exercises, participants will learn strategies for assessing drafts and revising productively. Note: This class serves fiction writers and those working on memoirs, narrative nonfiction, or any dramatic form.
Full description posting soon.
Charles Bock—The Spoken Role
Dialogue is an important and huge part of the craft of fiction. It’s also one of the most commonly misused. Our workshop will look at the purpose and form of dialogue, including its basic role, how to build a conversation, winning and losing in an argument, what do I do about dialect, and that trickiest of tricksters, subtext. A number of excerpts, from writers including David Foster Wallace, Junot Diaz, Jonathan Franzen, and Truman Capote, will be consulted. There are going to be handouts so students can follow along.
Listed are links to a pair of short stories participants should read beforehand, to help prep them for the workshop. The first link is to a pdf of the whole book Girl with the Curious Hair by David Foster Wallace. The story I want them to have read is "Lyndon," which they can find easily enough in the pdf: http://m.friendfeed-media.com/d8aef6c3b9514e089600afcf794360f62fb1be05
We’ll try to define what flash or very short fiction is, but mostly we’ll be writing like crazy for trying to tell stories—from 200-1500 word stories; innovative and fresh stories—based on the provocations of forms and on our own memories and imaginations.
John Wayne Falbey—Self-Publishing Your Book
Had enough rejections? Frustrated by literary agents and publishers who show no interest in your work? Convinced it would sell if only you could get it in front of the reading public? Fret no more. Thanks to Amazon and similar outlets for self-publishing you can take charge of your literary career. In this workshop we’ll cover the complete process involved in taking your draft manuscript to published work—the do’s and don’ts and how to’s.
Beth Ann Fennelly—Dissecting the Frog: Strategies for Using Humor in Your Writing
E. B. White said “Analyzing humor is like dissecting a frog. Few people are interested and the frog dies of it.” This all-levels, multi-genre, interactive craft class is for the proud few who are up for a little dissection with their donuts and coffee. We won’t seek to turn ourselves into comedy writers so much as we will learn some strategies to infuse humor into our more serious stories, essays, and poems. We’ll study examples from a range of contemporary writers, including Lorrie Moore, Meghan Daum, Sloan Crosley, John Waters, Denise Duhamel, Harrison Scott Key, and David Sedaris. Participants should bring with them a small writing sample (a scene from a story, a few paragraphs from an essay, or a poem) as after studying others’ use of humor we’ll attempt to create some of our own.
Nick Flynn--Memoir Writing
Full description posting soon.
Gina Frangello—The Author As God: Third Person Editorial Omniscient Point of View
The varieties of third person point of view are often overlooked, with writers sticking to a limited omniscient point of view that, like in first person point of view, only allows the reader access to what the character knows. Many writers are not even quite sure what “editorial omniscient” means exactly, and confuse it with a point of view that alternates or roves between characters. This underutilized point of view, however, practiced by writers as diverse as Milan Kundera and Zadie Smith, offers the writer a unique ability to paint with broader strokes, giving the reader access to wider information, telescoping time, pronouncing truths or offering insights into character motivation to which the characters themselves aren’t privy. Whether the “god” of the story is the author, unveiling her/himself as the master puppeteer and letting the reader inside certain craft decisions, or whether the authorial consciousness is never specifically identified, editorial omniscient is a complex point of view that is easy to “mess up” on early tries, but that offers a writer great freedom and range when fully understood. Looking closely at Milan Kundera’s “The Hitchhiking Game” and Tobias Wolfe’s “Bullet in the Brain," we will break down the ins and outs to give writers greater confidence to experiment.
Tom Franklin—Crippled Orphans at Christmas: Writing Unsentimental Fiction
We'll discuss what sentimentality is and its place in fiction. We'll read short pro and con examples and discuss, then do exercises against sentimentality.
William Giraldi—Tragedy is the New Norm
In the wake of the recent American massacres in Aurora, Newtown, and Boston, how do writers incorporate calamitous events into their fiction without resorting to mere reportage, or cliché, or sentimentality, or bloodshed for its own sake? We'll look closely at tragic scenes from world literature (Homer, Sophocles, Shakespeare, Flannery O'Connor) to understand better how the greats marshaled and mastered tragedy. We'll also look at the quieter, personal tragedies of everyday living—the death of a loved one, the destruction of a marriage—in stories by Raymond Carver and Richard Ford.
Leslie Jamison—Flash Memoir
In this class, we’ll be thinking about the possibilities of compression: how to capture our infinite lives in finite frames. We’ll be exploring what can happen in just a few paragraphs: a mother can be raised from the grave or a treehouse burned to the ground, a wound can be re-opened with a few deft slices of syntax, a few crucial details. There’s an exhilaration to concision; we’ll explore this vein of electricity.
Kimberly Johnson—Love Affairs with Dictionaries: Words, Passion, and Poetry
Often as writers we get so excited by the ideas that we have to share that we overlook the building blocks of our art, the raw materials: words. Words have heft and history, and they engage our minds and bodies together. This session will consider words in all their strange particularity, and reflect upon the mechanisms by which the word on the page registers the materiality of the world and makes presence.
Lyn Millner—Turning Facts into Story
If you enjoy true narratives from history—think Laura Hillenbrand’s Unbroken, Erik Larson’s Dead Wake—this workshop is for you. We’ll deconstruct some of the most compelling examples in the genre; we’ll do exercises with scene reconstruction; and we’ll discuss how you can transform research into stories.
Full description posting soon.
Alan Michael Parker—Wild Poems
In this class, we will focus upon wild poems, and the use of the imagination to process experience. Yes, digging into who we are requires linguistic urgency, psychological ambition, and conceptual panache—so let’s work on all of that together. Be prepared to play.
In fiction, people never say exactly what they mean. There is a crucial angle between what is spoken out loud and what is really going on. Understanding that angle, and learning how to use it, is the key to making characters, and the relationships between them, come alive in a scene. In this class we will read dialogue by masters as different as Alice Munro, James Joyce, Ernest Hemingway, Flannery O’Connor, and Grace Paley with an eye not just toward what is being said, but how and why.
Margo Rabb—How to Write A Young Adult Novel
What is YA exactly, and how do YA novels differ from adult ones? In this two-session class we’ll discuss what YA is and isn’t, and how to develop your idea from initial inspiration to finished book. We’ll explore the enormous range of fiction that has been published as YA, from Laure Halse Anderson to Peter Cameron to Jacqueline Wilson. We'll also talk about the YA writing and publishing world and share resources unique to YA writers.
Jim Shepard—Techniques in Close Reading
A workshop in the skill of close reading, since improving as a reader is so crucial to your improvement as a writer. The workshop will include exercises and published work.
Karen Shepard—Why Do I Care?: Finding the Emotional Stakes in Your Fiction
Using exercises and published fiction, we’ll help each other figure out how to develop those aspects of your fiction that have something at stake, that matter, to you and your reader.
Darin Strauss—The Art of Narrative (Fiction and Non-)
Our class will emphasize shop talk: how to begin a story, say, and how to introduce a character. And we'll take up such questions as, “What is the relationship of plot to sub-plot? How does one hold the reader's attention?” Of course, in Art, rules must be flexible—but I ask my students to think of writing in strategic terms; each story-telling decision needs to make tactical sense. With that in mind, we'll examine—with fantastic esprit de corps and style—the tenets of the Art of Fiction.
Jay Wexler—Humor Outside the Humor Piece
In this very serious workshop we will talk about how to use humor in our longer works of non-fiction and fiction. We’ll read some samples of humor gone right and wrong and talk about why they went right and wrong and how the things that went wrong could have been made better. We will discuss our ideas for new works that will be at least sort of funny and brainstorm how they could be even funnier. Perhaps we shall do an exercise.
Deborah Reed & Wayne Falbey—The Truth About Publishing Today
There are so many highly charged and contradictory opinions surrounding the subject of publishing these days, with arguments between booksellers, publishers, authors, and editors splayed across the pages of everything from the New York Times to Facebook. What does everyone want and why? What is really going on behind the scenes? And most importantly, what does it mean to be an author in a world of hybrid possibilities? Novelist and creative writing teacher Deborah Reed will discuss why now more than ever is an exciting time to publish your work. Deborah has published five successful novels and used a myriad of ways to get there. Wayne Falbey, author of two novels (and working on a third), will discuss his self-publishing experiences and why it might be the best option for your book. They will be happy to answer all of your questions so come prepared for a hearty Q & A.
Shane Hinton, Kimberly Lojewski, and Ryan Rivas—Is a Small Press Right for You?
Hosted by Kimberly Lojewski and Shane Hinton, whose debut story collections were released in 2015, and their publisher, Ryan Rivas of Burrow Press, this panel will focus on the experience of publishing with a small press. The conversation will address why you might choose a small press over a major publishing house, how to choose which press will be the best fit for you, how to evaluate the quality of a press before deciding where to place your work, and submission strategies to keep in mind during the process.