Online Writing Workshops & Classes
*ONLINE WORKSHOPS happen live, via video conference. All you need is a laptop, computer, or phone with functioning audio and a webcam. Those who RSVP receive directions and a link to "join" the session a few days before. We are available to help if you are new to online workshops!
*ONE-DAY CLASSES run two or three hours and focus on particular writing-related craft, process, or practical topics. They often emphasize the development and honing of specific skills, through craft instruction, analysis of published work, discussion, and in-class writing exercises. Unless stated, they DO NOT entail outside reading or the opportunity to receive feedback on your work.
*MULTI-WEEK WORKSHOPS meet weekly for the stated number of weeks and in most cases offer the opportunity to receive feedback on your work from the instructor and group (unless description emphasizes generative writing, revision, or something else). They often include weekly deadlines, reading and/or writing assignments, and craft instruction. Groups are smaller (10 or 12 writers max).
*FINANCIAL AID/SCHOLARSHIPS: While our resources are limited, we try to offer some assistance to those in extreme need. If this is the only way you can attend a workshop, please fill out our Financial Aid Application, let us know what workshop you're applying for, and include a short writing sample. When reviewing applications for financial aid, we especially consider how much the workshop in question would benefit and support the applicant's current writing goals. Please note: We are usually unable to offer more than a 50% cost reduction. For those who are able to pay in full, we thank you, as it allows us to give some assistance to those otherwise unable to attend.
*SPECIAL ACCOMMODATIONS: We try to meet the needs of all of our students at PVWW, so please let us know if there are any special accommodations you may need (for example: if you struggle with email, typing, computer use, mobility, etc.) You can talk to your instructor on the first day of class, though we encourage you to let us know in advance, as it's easier to accommodate your requests that way. Feel free to email Joy or leave us a note when you register/RSVP for a class.
*DONATIONS TO PVWW: We are a small, writer-run organization committed to making our workshops available to all writers, yet we do not have outside resources or grants to draw upon. Because of this, we greatly appreciate any and all donations. If you've recently attended a $5 session or Community Writing and have the means to do so, a $10 - $20 donation would greatly help us sustain these free and low-cost offerings at PVWW. Thank you to all our donors! Learn more & donate to PVWW here.
*LOCATION: All in-person workshops are held in our classroom in Williamsburg MA and are limited to 10 participants. There will be no in-person workshops for the remainder of 2020.
ONLINE SUMMER/FALL SCHEDULE
ONLINE • FREE! OPEN TO WRITERS EVERYWHERE, ALL GENRES, ALL LEVELS OF EXPERIENCE
Community Writing
Fridays: Aug. 21, Sept. 4, Sept. 18, Oct. 2, Oct. 16, Nov. 6, Nov. 20 (6 - 8pm EST)
with PVWW Founder-Director Joy Baglio
This FREE, gathering for writers of all levels and genres happens every FIRST and THIRD FRIDAY of the month and is a great way to get back into the flow of your work in the supportive presence of other writers. We'll warm up with a number of engaging prompts, followed by sustained writing time, then (optional) sharing and discussion in smaller groups, or one large group (depending on the size of the gathering). Note: Community Writing is NOT a traditional workshop where writers receive feedback on their work - it's a place to write alongside others, respond to prompts, and connect and share with other writers. If you join the session late, no worries - just remember to mute yourself when you log on! Open to all. Young adult and teen writers welcome! Group size: No limit.
RSVP Directions: Please RSVP just ONCE, even if you plan to attend more than one session, as we will add you to the Community Writing mailing list and email you the link to all sessions the day before.
Donations: This is a free community event that happens twice a month, and there is no expectation to donate. However, if you are able to and would like to contribute, all donations are greatly appreciated and will directly help us continue offering free and low-cost writing programs like Community Writing. Learn more & donate to PVWW here!
RSVP Directions: Please RSVP just ONCE, even if you plan to attend more than one session, as we will add you to the Community Writing mailing list and email you the link to all sessions the day before.
Donations: This is a free community event that happens twice a month, and there is no expectation to donate. However, if you are able to and would like to contribute, all donations are greatly appreciated and will directly help us continue offering free and low-cost writing programs like Community Writing. Learn more & donate to PVWW here!
ONLINE - THIS CLASS IS FULL!
Creative Writing Fundamentals
6 Weeks: Tuesdays, September 22 - October 27 (6 - 8pm EST) • $250
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Have you wanted to delve into the world of creative writing, but never known where to start? Or perhaps you already write, but want to review some of the essentials of different genres in a supportive environment? This workshop is for you! We'll engage in a variety of fun, thought-provoking in-class prompts in poetry, fiction, creative nonfiction, and experimental/hybrid work. We'll try our hand at some of the main creative writing genres, occasionally reading examples from the masters to supplement our understanding. Participants will have the opportunity to share and workshop select pieces in a guided, supportive format. We’ll also discuss writers’ block strategies, revision methods, and other related topics. Class size: Limited to 12 writers
CAROLYN ZAIKOWSKI is the author of the novels In a Dream, I Dance by Myself, and I Collapse and A Child Is Being Killed. Her fiction, poetry, and essays have appeared widely, in such publications as The Washington Post, Denver Quarterly, The Rumpus, West Branch, Huffington Post, and others. She holds an MFA from Naropa University and is an English professor.
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ONLINE • THIS CLASS IS FULL!
Submitting and Publishing Creative Nonfiction
1.5 Hours: Sunday, September 27 (3 - 4:30 pm EST)
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Because creative nonfiction spans so many genres—the personal essay, the lyric essay, literary journalism, and travel writing, to name a few—it's difficult to know where to send it for publication. In this workshop with Entropy Small Press Editor and former Denver Quarterly Assistant Editor Dennis James Sweeney, we'll talk about the different types of literary magazines and small presses, how to make your submission look best to an editor, and how to set your creative nonfiction publishing goals. Wherever you are in the writing process, submitting your work can be a helpful light at the end of the tunnel! Informational class, with time for Q&A. Class size: Limited to 25 writers.
DENNIS JAMES SWEENEY's fiction, nonfiction, and poetry have appeared in Crazyhorse, Five Points, Ninth Letter, The New York Times, and The Southern Review, among others. He is a Small Press Editor of Entropy, the recipient of an MFA from Oregon State University, and a former Fulbright fellow in Malta. He's the author of Ghost/Home: A Beginner’s Guide to Being Haunted.
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ONLINE
Publishing Your Poems
2 Hours: Saturday, October 3rd (1 - 3pm EST) • $40
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Whether you want to submit individual poems to journals or publish a chapbook or full-length manuscript, this workshop offers practical advice for presenting your best work. We'll explore how to find journals and presses that best fit your writing style, specifics of formatting, titles and cover letters as well as poetry contests and the option of self-publishing. Publication involves risk-taking, so we'll also talk about dealing with rejection. For intermediate and advanced writers who are ready to send out a body of work. Class size: Limited to 12 writers
GAIL THOMAS is the author of four books of poetry, including Odd Mercy and Waving Back, which was named a Must Read by the Massachusetts Center for the Book, and Honorable Mention by the New England Book Festival. Her work has appeared in many journals and anthologies including The Beloit Poetry Journal, Calyx and The North American Review. Individual poems have won national prizes, and she has been a fellow at The McDowell Colony and Ucross.
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ONLINE - 4 spots left!
Revision Is Risky Business
2 Hours: Saturday, October 3rd ( 1 - 3pm EST) • $30
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What separates talented writers from truly accomplished ones is revision—the risky business of questioning all that has been done. How does a writer move from a first draft to the final one where the truth of the writing sparkles and shines? Bring that piece you’ve been struggling with, that piece that feels complete but hasn’t gotten published yet, that story you can’t leave alone. Join us in exploring and writing into the heart of your story—take the risk. Class size: Limited to 12 writers
CELIA JEFFRIES holds an MA from Brandeis and an MFA from Lesley University. Her work has appeared in numerous newspapers and literary magazines including Westview, Solsticelitmag, and Puerto del Sol, as well as the anthology Beyond the Yellow Wallpaper. She has received grants from the Massachusetts Cultural Council and was named a Massachusetts Humanity Scholar. She recently completed a novel and is currently at work on a memoir.
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ONLINE
Introduction to Creative Nonfiction
6 Weeks: Thursdays, October 8 - November 12 (6 - 8pm EST) • $250
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What does it mean to tell a “true” story? And what does it mean to tell a true story “creatively”? In this six-week workshop, we will read examples of creative nonfiction ranging from the personal essay to the lyric essay, engage in prompts that develop our own definitions of creative nonfiction, and workshop an essay- or chapter-length piece of our own. Students will leave the class with suggestions toward revision for their workshopped piece as well as a refined personal practice for writing nonfiction creatively. All forms of creative nonfiction are welcome here: if it's original and linked to reality, it's a good fit for our class. Class size: Limited to 12 writers
DENNIS JAMES SWEENEY's fiction, nonfiction, and poetry have appeared in Crazyhorse, Five Points, Ninth Letter, The New York Times, and The Southern Review, among others. He is a Small Press Editor of Entropy, the recipient of an MFA from Oregon State University, and a former Fulbright fellow in Malta. He's the author of Ghost/Home: A Beginner’s Guide to Being Haunted.
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ONLINE - THIS WORKSHOP IS FULL!
Advanced Fiction Workshop
8 Weeks: Thursdays, October 8 - December 3 (6-8pm EST) • $300
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This course is designed to give experienced fiction writers the opportunity to give and receive feedback on work in progress. The course offers a model for workshopping in which participants will receive written comments from the group and instructor before their work is discussed in class. Instead of remaining silent, writers will be an active participant in the conversation about their work, with a focus on concrete revision options.
Class size: Limited to 8 writers • *No class on 11/26* KATE SENECAL is the Assistant Director of PVWW and former fiction editor of Storychord. She has received an honorable mention in Glimmer Train’s 2019 Short Fiction Contest, and was nominated for a Pushcart Prize in 2016. Kate’s fiction has been published in The Laurel Review, The Foundling Review, and in Storychord.com. She holds an MFA from Vermont College of Fine Arts and, in addition to PVWW, teaches at Grub Street in Boston and UMass Amherst.
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ONLINE - THIS CLASS IS FULL!
Writing Dialogue That Makes Characters Real
3 Hours: Saturday, October 10th (1 - 4pm EST) • $60
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By the time we ask ourselves, how do we make our characters sound like real people, we’ve already formed habits: our dialogue happens as easily as we type. How can we give dialogue back to the characters we’ve created so that they sound like people, talking? Can we write dialogue that surprises us, that runs all our narrative errands while deepening our characters in ways we never intended? This class will be all about new paths into dialogue, new exercises, new approaches. By the end of this class you’ll have written freestanding conversations that will surprise you. Class size: Limited to 12 writers
DREW JOHNSON's stories have appeared in Harper's, Virginia Quarterly Review, The Literary Review, The Cupboard, Gulf Coast, New England Review, and elsewhere. Reviews, essays, and interviews have appeared or are forthcoming at Literary Hub, Guernica, The Los Angeles Review of Books, The Paris Review Daily, and elsewhere. He received his MFA from the University of Virginia.
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ONLINE - 4 spots left!
Generative and Community Building 10-Week Workshop
10 Weeks: Tuesdays, October 13 - December 15 (6 - 8pm EST)
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This workshop is perfect for any writer at any stage of the process. Each week we'll meet to write together. Each week will feature a new set of prompts; however, if writers want to use the time on other work they're already invested in they are encouraged to do so. After writing, participants will share work aloud if moved to do so. The group will provide on-the-spot, encouraging verbal feedback. This class is not genre- or craft-focused but rather centered around community building and ensuring that writers are able to make time for their writing. Class size: Limited to 10 writers
KATE SENECAL is the assistant director of Pioneer Valley Writers' Workshop, the former fiction editor of Storychord, a Grub Street writing instructor, and an adjunct professor at Umass Amherst. She has received an honorable mention in Glimmer Train’s 2019 Short Fiction Contest, and was nominated for a Pushcart Prize in 2016. Kate’s fiction has been published in The Laurel Review, The Foundling Review, and in Storychord.com.
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ONLINE
Finding Literary Community: How to Be at Home
in the World of Small Presses & Literary Magazines
2 Hours: Saturday, October 17 (2 - 4pm EST) • $30
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Before we write, we read. After we write, we share our writing with readers near and far. Both of these necessities are bound up in our participation in literary community. This course explores the act of living as a writer in a widespread network of readers, writers, and publishers. How do we engage authentically with that community? How do we contribute to it in meaningful ways, and how do we find opportunities to share our work? And how can our involvement give us a sense of satisfaction with our writing, our friendships, and our literary lives? This class is for those of us who want to get involved but aren’t sure how, as well as for those who are looking to increase their involvement in literary community. Class size: Limited to 16 writers.
DENNIS JAMES SWEENEY's fiction, nonfiction, and poetry have appeared in Crazyhorse, Five Points, Ninth Letter, The New York Times, and The Southern Review, among others. He is a Small Press Editor of Entropy, the recipient of an MFA from Oregon State University, and a former Fulbright fellow in Malta. He's the author of Ghost/Home: A Beginner’s Guide to Being Haunted.
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ONLINE
Turning Real Life Into Compelling Fiction
2 Hours: Saturday, October 24 (2 - 4 EST) • $30
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We all take inspiration from our own lives when we're writing, but sometimes our experiences are the hardest things to write successfully as fiction. In this two hour craft exploration, we'll delve into why our terrible dates, or uncomfortable cab rides, or job losses, or trips to Antarctica often don't make great short stories on their own. We'll then discuss how to take our raw real-life moments and use them to maximum effect in our short stories, novels, and other fictional endeavors. Class size: Limited to 16 writers.
Ben Jackson holds an MFA in fiction from Boston University and an MPhil from the University of Cambridge. His nonfiction writing has appeared in The London Review of Books, The Los Angeles Review of Books, The Awl, and The Guardian, among others, and his short fiction has appeared in West Branch and is forthcoming in American Short Fiction. He's received grants from the Alberta Foundation for the Arts and the Banff Center, and is working on his first novel.
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ONLINE
Reading Like a Writer: Studying Craft in Song of Achilles
4 Weeks: Wednesdays, November 4 - December 2* (6 - 8pm EST) • $200
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In this course we'll spend four weeks learning about the craft of fiction writing through reading Madeline Miller's Song of Achilles together. Miller masterfully demonstrates an efficient but complex, emotionally rich, character-driven plot structure by re-envisioning a familiar tale from a unique perspective. Each meeting will feature discussion of Miller's use of the fundamental elements of storytelling, and how we can learn from them as writers; generative writing exercises related to the reading, and optional verbal sharing of work participants do in-class. *No class 11/25
KATE SENECAL received an MFA from Vermont College of Fine Arts in 2013. She is the former fiction editor of Storychord, the Assistant Director of Pioneer Valley Writer’s Workshop, a fiction instructor for Grub Street, and a professor at Umass Amherst. She's received an honorable mention in Glimmer Train’s 2019 Short Fiction Contest and was nominated for a Pushcart Prize in 2016. Her fiction is published in The Laurel Review, The Foundling Review, and in Storychord.com.
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ONLINE
Creating Compelling Characters
3 Hours: Saturday, November 7th (1 - 4pm EST) • $50
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Creating great fiction requires creating compelling, three-dimensional characters who break through clichés and stereotypes. In this class, we’ll explore questions like: What are the internal states and motivations of our characters? How does that connect to their external behaviors—how do they think, feel, and act in different situations and environments, from the mundane to the profound? What are their personal, social, and cultural histories, and how much of that should we reveal? We'll use a variety of in-class explorations and guided discussions to get at these core issues, and we’ll bring our characters to life by workshopping them with the group! Class size: Limited to 12 writers.
CAROLYN ZAIKOWSKI is the author of the novels In a Dream, I Dance by Myself, and I Collapse and A Child Is Being Killed. Her fiction, poetry, and essays have appeared widely, in such publications as The Washington Post, Denver Quarterly, The Rumpus, West Branch, Huffington Post, and others. She holds an MFA from Naropa University and is currently an English professor.
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ONLINE
In Our Own Words: Generative Translation
2 Hours: Sunday, November 8th (2 - 4pm EST) • $45
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All writers translate. We translate inchoate, ephemeral thoughts and images into words, and then, when we’re lucky, onto the page. Literary translation is at its heart an act of close reading, with atunement to word choice, tone, subtext and cultural context – familiar and essential concerns for any creative writer. In this class, we’ll play with words, via short exercises and prompts that will illuminate the process of literary translation and the ways in which it can be both a generative experiment and a tool for revising one’s own work. Limited to 12 writers. LIZ BEDELL's recently completed novel, The Space Between, was shortlisted in the 2019 William Faulkner William Wisdom Competition, Novel-in-Progress category. She is a co-editor of Embody, a weekly feature column at The Maine Review. She holds an MFA in Fiction and Translation from Vermont College of Fine Arts.
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ONLINE
A Try at the Truth: Intro to Memoir Workshop
6 Weeks: Mondays, November 9 - December 7 (6 - 8pm EST) • $275
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Patricia Hampl says “Memoir is not what happened (if we’re lucky, that’s the best journalism). It is what has happened over time, in the mind as it attends to these tantalizing, dismaying, broken bits of life history. Such personal writing is, as the essay is, ‘an attempt.’ It is a try at the truth. The truth of a self in the world.” In this six-week workshop, we will generate new writing, examine masters of the craft, confront the challenges of writing ‘the truth of the self’ and work together in a supportive environment to write and revise a short essay or chapter of a memoir. Class size: 8 writers
CELIA JEFFRIES holds an MA from Brandeis and an MFA from Lesley University. Her work has appeared in numerous newspapers and literary magazines including Westview, Solsticelitmag, and Puerto del Sol, as well as the anthology Beyond the Yellow Wallpaper. She has received grants from the Massachusetts Cultural Council and was named a Massachusetts Humanity Scholar. She recently completed a novel and is currently at work on a memoir.
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ONLINE
Adventures in Narrative Structure
6 Weeks: Tuesdays, November 10 - December 15th (6 - 8pm EST) • $250
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When writing fiction, the structure of a story is a critical element to consider. Over six weeks, we'll study and experiment with different types of narrative structures, including linear and nonlinear ways to construct stories, epistolary, fragmented, and experimental forms. Each week, we'll read and study texts which exemplify these modes, from writers like Kathleen Collins, Theresa Naval, Lydia Davis, Jamaica Kincaid, and others. Additionally, we’ll try out these different structures ourselves, plus give and receive informal feedback. You'll leave with at least five short fiction drafts or beginnings of drafts. Familiarity with basic craft concepts like character, setting, point of view, dialogue, etc. will be helpful. Limited to 12 writers
CAROLYN ZAIKOWSKI is the author of the novels In a Dream, I Dance by Myself, and I Collapse and A Child Is Being Killed. Her fiction, poetry, and essays have appeared widely, in The Washington Post, Denver Quarterly, The Rumpus, West Branch, Huffington Post, and others. She holds an MFA from Naropa University and is currently an English professor.
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ONLINE
Hybrid Forms: Writing Between Genres
2 Hours: Saturday, November 14th (2 - 4pm EST) • $30
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Hybrid writing often denotes a combination of disparate genres, a style of writing that inhabits the “in-between.” But what if we consider hybridity as a genre all its own? In this course, we will read writing that refuses to classify itself within the traditional distinctions of fiction, nonfiction, poetry, and drama; we will discuss the merits of classification, and of working outside these systems of naming; finally, we will form our own definitions of hybrid writing and practice them ourselves. Students will leave the class with an expanded notion of genre and a toolbox of possibilities for experimentation in style and form. Class size: Limited to 12 writers.
DENNIS JAMES SWEENEY's fiction, nonfiction, and poetry have appeared in Crazyhorse, Five Points, Ninth Letter, The New York Times, and The Southern Review, among others. He is a Small Press Editor of Entropy, the recipient of an MFA from Oregon State University, and a former Fulbright fellow in Malta. He's the author of Ghost/Home: A Beginner’s Guide to Being Haunted.
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ONLINE
Writing About Sex
2 Hours: Sunday, November 15 (2 - 4pm EST) • $30
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“Sex is a kind of crucible of humanness,” says the author Garth Greenwell, “and so the question isn’t so much why one would write about sex, as why one would write about anything else.” In this class we’ll explore what effectively-written sex in literature can do: unearth unexpected traits of character, articulate spiritual and metaphysical concepts, engage with systems of power and oppression, arouse, disturb, and entertain. Whether we’re afraid to write about sex or we’ve been writing erotica for years, we’ll come away from this class empowered and inspired by exciting new approaches to take back to our work. Class size: Limited to 12 writers.
CAROLINE BELLE STEWART's stories can be found in Fairy Tale Review, Black Warrior Review, Quarterly West, Hobart, No Tokens, Big Big Wednesday, Mistress, and elsewhere. She's the author of the chapbook "Husbandly Things" (Factory Hollow Press) and co-author of a deck of narrative divinatory birding flashcards called "Mast Year: A Mystical Field Guide" (Mount Analogue Press). She's a recipient of fellowships from Monson Arts, I-Park, and the MacDowell Colony.
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ONLINE
Writing Transformation: Exploring Myth & Magic
2 Hours: Saturday, November 21 (1 - 3pm EST) • $30
The Little Mermaid sacrifices her tail for a human soul. Gregor Samsa, feeling insignificant, becomes a cockroach. The nymph Daphne turns into a tree to escape lovesick Apollo. Throughout literature, characters transform because they are hungry. They transform because they're restless, because they're seeking liberation from domesticity, obscurity, prescribed roles, their own bodies. They transform for fun. As writers, we use transformation to illuminate the raw places inside our protagonists and their worlds. Our characters escape, they devour, they create life—and they discover their true selves by stripping away their known skin. In this one-day class, we'll explore these ideas through craft talk, discussion of sample texts, and in-class writing.
Class size: Limited to 16 writers.
Class size: Limited to 16 writers.
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LARA EHRLICH is the author of the short story collection Animal Wife (Red Hen Press, 2020), which won Red Hen’s Fiction Award, judged by Ann Hood. Lara’s stories are published in F(r)iction, Hunger Mountain, StoryQuarterly, The Normal School, and elsewhere, and she is the winner of a 2019 IHAF In-House Creativity Award and numerous Council for Advancement and Support of Education (CASE) awards for her feature writing. Lara has received scholarships from the Martha’s Vineyard Institute of Creative Writing, the Midwest Writers Workshop, and the Garret on the Green. Lara earned her BA from Boston University and her MA from the University of Chicago, and lives in Connecticut, where she is the director of marketing for the International Festival of Arts & Ideas in New Haven.
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ONLINE
Creating Tiny Universes: Flash Fiction Intensive
4 Weeks: Mondays, November 30 - December 21 (6 - 8pm EST) • Cost: $275
Have you ever told a story to a group of people and had the whole room silent, waiting to see how it would end? You might be a natural at flash fiction, super-short fiction that has no time or patience for the long-windedness of other forms, that distills story down to its essence, and taps into our instincts as natural - and brief - storytellers. Flash takes everything we love about compelling stories - the complexity, nuance, characters, themes, tension, stakes - and delivers it all in an impossibly short high-wire act that leaves us deeply affected and that resonates long after. But how do we go about writing, crafting, and cutting our stories into these sparkling fictional (or memoiristic) gems? Each week, we will highlight different key elements in the creation of flash fiction, and through short craft talks, example texts, discussion, and generative exercises, we'll explore the flash form in all its versatility. Workload: Writers should expect weekly writing assignments (500 word limit) and short weekly readings. Participants will receive comments on two pieces from the group, as well as extensive feedback from the instructor. Class size: Limited to 10 writers
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JOY BAGLIO founded Pioneer Valley Writers' Workshop in 2016. She's a former associate fiction editor at West Branch, and her fiction has appeared in Tin House, The Iowa Review, TriQuarterly, American Short Fiction, New Ohio Review, Gulf Coast, SmokeLong Quarterly, and elsewhere. She holds an MFA from The New School and has received fellowships from Yaddo, Vermont Studio Center, The Elizabeth George Foundation, The Speculative Literature Foundation, and MVICW. Her short fiction has been recognized by numerous contests and awards, including Wigleaf's Top 50 (Very) Short Fictions and Ploughshare's Emerging Writer's Contest.
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ONLINE
Writing the Personal Essay
2 Hours: Saturday, December 5 (1 - 3pm EST) • $45
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This workshop will introduce you to the genre of the shorter and longer personal essay and how and where you can write and publish first-person essays that tell a story and make a point about the world and our shared humanity. The class will cover topics such as finding ideas, penning your first draft, creating lively and memorable scenes, introducing background research, editing for clarity and submitting your essay for publication. Class size: Limited to 10 writers.
ÁINE GREANEY is an Irish born author now living in eastern Massachusetts. In addition to her five published books, she has published personal and opinion essays in publications such as Creative Nonfiction, The Boston Globe Magazine and WBUR/Cognoscenti and an essay collection, Green Card & Other Essays. Her work has been cited in Best American Essays, and she has led writing workshops in New England, New York and Ireland and has presented on writing at two national conferences.
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• Class and Workshop Policies •
Past One-Day Workshops
Pull At Your Reader's Heartstrings: Writing Emotion
with Cindy Littlefield
The key to crafting truly sympathetic characters (be they heroes or villains) is to make their emotions so palpable on the page that the reader actually feels them too. Ironically, the trick is to never identify those sentiments by name. In this one-day class, we will study passages from contemporary fiction (and film) that exemplify how effectively the masters use subtext to communicate love, grief, anger, sadness, elation, etc. in their prose. Next, we’ll try our hand at employing language, perception, and other elements of craft to deftly convey our own characters’ state of mind. Prompts will be provided for the writing exercise, but participants may choose to work on revising an excerpt from a work in progress if they prefer.
Debunking the "Show, Don't Tell" Myth
with Kate Senecal
If you even took one writing class in high school or college you've heard the phrase "show, don't tell." In this workshop, we'll explore the many ways that "telling" is useful, and how good prose is actually made up of a rich combination of BOTH showing and telling. Participants will learn strategies around the best way to reveal information in their short stories depending on the context and the desired effect through analyzing published work, class discussion, and in class writing exercises. Students will be provided with the option of sharing their work in class and obtaining verbal feedback, but this is at the participants' discretion.
Point of View and Narrative Distance
with Seth Harwood
First person, third person… second person? Close third person, distant third… omniscient? If you’ve pondered these concepts before and wondered either which would fit best for a given story you’re working on, or even which designation you’re writing in, this is the course for you. Together, we'll unpack and demystify point of view and the all important but oft-misunderstood metric of narrative distance. Understanding these important craft tools can make all the difference in keeping readers interested, grounded, and plugged in.
Put Your Story In Its Place: Making the Most of Setting
with Cindy Littlefield
It’s hard to overemphasize how compelling setting can be in creative writing. It’s not just that it lends significant context by grounding a story in a physical place and time. Done well, it also has the ability to illustrate and steer the narrative’s emotional undercurrents in dramatic and amazing ways. Think of how influential setting is in shaping such great novels as Water for Elephants, A Thousand Acres, The Shipping News, and The Things They Carried, to name a few. Not to mention the mesmerizing storylines of series such as West Wing, Nurse Jackie, and the Sopranos. This one-day class will delve into the significant role locale, weather, era, culture, and geography play in so many of the captivating narratives we all love. We’ll discuss how to choose and incorporate compelling setting descriptions and details that do the job without being effusive, then work through a series of inspiring prompts to establish a powerful sense of place in our own writing.
Writing the Scary Story: How to Hook and Frighten Your Reader
with Eleanor Lane
Do you aspire to write tales that terrify your readers? Join us in investigating how to create a tense and unnerving story through setting, characterization, and structure. How do we draw readers in and cultivate frightening atmospheres? How do we create menacing settings and monsters that haunt the reader long after they are done reading? We will examine some short and flash fiction pieces, and discuss the elements the authors use to draw readers in and set them on edge. Open to beginner and intermediate writers.
Path to Publishing Your Fiction
with Joy Baglio
This informational workshop will cover two important topics related to getting your work out in the world:
Publishing Your Poems
with Gail Thomas
Whether you want to submit individual poems to journals or publish a complete manuscript, this workshop will give practical advice for presenting your best work. We'll explore how to find journals and presses that best fit your writing style, the importance of formatting, titles, and cover letters, poetry contests and the option of self-publishing. Publication involves risk-taking, so we'll also talk about dealing with rejection. *Please bring five poems for the hands-on demonstration of how these might work as a manuscript. Recommended for intermediate and advanced writers who have a body of work.
Cultivating a Regular Writing Practice: A Bridge Between the Head & Heart
with Kate Senecal
This all-day workshop seeks to investigate the moving parts of a successful writing practice, and leave students with a solid plan regarding how to create momentum in their writing lives. We'll discuss finding balance between conquering writer's block, performance anxiety, allowing your intuition to steer the ship and developing concrete craft knowledge and revision strategies. Class include writing exercises, in-class readings, lively discussion, and active project planning. We will not be critiquing each other's work.
A Little Time for Poetry
with Carolyn Zaikowski
Life is busy. We don’t get the chance to steep in our poetry practice as often as we'd like, and we find ourselves getting more disconnected from our writing life—sometimes for months or years. The purpose of this class is to give us a quiet, supportive, and structured space to simply be poets for a few hours. This class is perfect for those who want to do some self-care and reconnect with their inner poet, as well as for those who simply crave a block of time to write and think about poetry.
We will:
Mastering the Power of Verbs
with Seth Harwood
Verbs: they’re the strongest tool in your arsenal of words, the sharpest arrow in the quiver. Yet we often choose weak links, connector verbs instead of the strong, stunning verbs that can knock, kick, twirl, or break a character, even build, develop, or create a full story. Why? What choices are we making that we don’t even realize? Join Seth Harwood to look at the various types of verbs at our disposal, see how the right verbs can transform your writing, and develop a powerful new revision technique along the way.
Fun With Writer's Block
with Carolyn Zaikowski
So you have writer’s block? Great work—that means you’re a writer! Many of us get down on ourselves when we can’t get those words to come out. But, as Samuel Beckett famously wrote, "Ever tried. Ever failed. No matter. Try Again. Fail again. Fail better." Writer’s block is a nothing other than a normal step in the writing process, and there are all kinds of methods we can use to overcome it. In this workshop, participants will explore multiple ways of blasting themselves out of writer’s block, from classic methods like freewriting, to innovative mental and emotional prompts, to somatic and sensory writing warm-ups…and hopefully, some fun will be had! This workshop is for writers of all levels and genres who are looking to light a fire under themselves and get the words flowing. You'll leave with a range of interesting and creative writer’s block strategies to use in real life, far beyond the workshop setting. *Participants are asked to arrive with one to three ideas or unfinished pieces of any length to work with that they are currently stuck on.
Exploring Grief Through Experimental Writing
with Nikki Sambitsky
Have you ever wondered what form grief can take in writing? In this workshop, we'll look at experimental and hybrid forms as well as the lyric essay as both vehicles that provide an access point to emotional depth as well as a way to give voice to the unspeakable. What does hybrid writing offer us that traditional creative nonfiction sometimes cannot?
In the first half of this all-day seminar, we'll look at and discuss how grief disrupts, enhances, and shows up for writers like Kate Zambreno, Lia Purpura, Maggie Nelson, Eula Biss, Stephen Kuusisto, and Roland Barthes. We'll discuss some of the techniques and hallmarks of experimental writing, such as wordplay, meaningful and purposeful use of whitespace, unusual forms, the relationship between form and content, punctuation, style, sound, metaphor, and simile, among others. We'll also examine an excerpt from Cheryl Strayed’s memoir, Wild, to illuminate the striking differences between grief in memoir versus grief in the lyric essay. During the second half of the seminar, we'll do some writing in response to several exercises based on our own personal grief-filled or difficult experiences. Open to writers of all levels and genres.
Five-Year Creative Planning
with Francine Puckly
In this hands-on workshop, writers, illustrators, and artists of all types have the opportunity to turn their long-term creative hopes into concrete goals over a five-year period. Participants begin the workshop by defining five-year visions for their careers. But just as the idea for a novel doesn’t turn into a book without a plot and outline, our careers must have detailed roadmaps delineating the work that must be done, at what pace, and in what order. Five-year visions are turned into annual goals, and those annual plans give way to quarterly, monthly and weekly tasks. Participants will leave the workshop with concrete plans that incorporate all aspects of projects, including (but not limited to): topic research, number of drafts required, editor/agent research, submission goals and tracking, skill acquisition (conferences, workshops, writing retreats), and social media strategies/website development needs. Open to writers and artists of all levels and genres.
Mastering Dialogue
with Sara Rauch
Have you ever...
...gotten the sneaking suspicion when reading that characters are talking at you?
...muddled through a conversation on the page that feels stiff, false, speechy, or preachy?
...wondered if a writer lifted a conversation verbatim from a real-life scenario?
...puzzled over why some dialogue livens a story while other dialogue bores?
...struggled with how to get more than two characters talking without confusion?
...wanted to use dialogue to convey important details and illuminate plot but don’t know where to begin?
If "yes" to any of these, this workshop is for you!
In this class, we’ll discuss how dialogue functions in writing and why some dialogue feels natural and other dialogue stiff. We’ll look at some examples and discuss what's successful and what isn’t. We’ll spend some time talking about the art of listening, which is intimately related to writing effective dialogue. Finally, we'll try our hands at some fun exercises to get your he said, she said juices flowing. Open to writers of all levels, genres, and experiences.
Creating Characters
with Carolyn Zaikowski
Writing great fiction requires creating compelling, three-dimensional characters who break through clichés and stereotypes. In this class we'll explore questions like: What are the internal states and motivations of our characters? How does that connect to their external behaviors—how do they think, feel, and act in different situations and environments, from the mundane to the profound? What are their personal, social, and cultural histories, and how much of that should we reveal? What should we take into account when writing characters who come from different social or cultural groups than we do? We'll use a variety of in-class explorations and guided discussions to get at these core issues, and we’ll bring our characters to life with some group workshopping activities. *Participants should come prepared with a basic sense of a character or characters they’d either like to create or have already been working on.*
Mastering Beginnings & Endings
with Kate Senecal
Ann Hood once wrote that Beginnings "put into motion the events that will drive the story to its resolution. And the resolution is often the inverse of the opening." In this class, we'll investigate the connection between the beginnings and endings of short stories and novels and discuss how to write opening and closing lines that draw the reader in and leave them satisfied. We'll look at a wide variety of beginnings and endings with an eye toward finding connections and identifying how the language anchors the story.
*Participants will be asked to read "In the Cemetery Where Al Jolson Is Buried" (10 pages) by Amy Hempel in advance of the class.
Reading Like a Writer
with Sara Rauch
Behind every good writer is a good reader. But what makes a good reader? A healthy curiosity, and a willingness to examine what is working (and what isn’t) in any given text. In this class, we’ll focus our attention on close reading: how to hone the skills necessary to really delve into a piece of prose and find what makes it tick, and then how to apply what you learn to your own work. In this class, we’ll scrutinize two different pieces of prose from the word and sentence level outward to character traits and motivations, plot, and narrative structure; we’ll talk about what works and what doesn’t on a craft level, how to discern between quality and personal taste, and how to make the leap from reading to actually writing. We’ll also talk about the role imitation can (and does) play in first drafts, and why reading broadly is so important to every writer at every stage of their career. Lastly, we’ll spend some time talking about ways to make reading like a writer an enjoyable experience.
Narrative Recycling: Retelling Familiar Stories
with Eleanor Lane
For as long as stories have been told, certain narratives have been retold throughout the ages in different styles, forms, and voices, often finding their way to us in the forms of folklore, fairytales, and myths. In this workshop, we'll look at how to use elements of mythology and folklore in our own writing and how to balance retelling with inventing. We'll consider how allusions function, the different possible ways of structuring a retelling, as well as which aspects of the original story often change in the retelling.We will examine stories by Carmen Maria Machado, Margaret Atwood, and Angela Carter, then discuss how these authors use familiar narratives to tell their own, new stories. Come prepared to engage with your favorite myths and fairytales! Participants will have an opportunity to practice using mythology and folklore in their own writing in response to several in-class writing exercises. *Participants will be asked to read several short stories in advance of the class. The texts will be emailed to everyone.
Revision Strategies for Fiction Writers
with Kate Senecal
Some writers think of revision as the drudge work of writing, yet when approached with the right tools and perspective, revision can be a playful and often enlightening exploration. This workshop will show you how fine-tuning and looking at your own work with fresh eyes can transform a first draft from something raw and not-quite-there into an eloquent and compelling piece of prose. We'll focus on specific revision strategies that will help you identify the parts of your story that aren't working and, in the supportive company of others, figure out solutions to the problem areas of your narrative. Participants will use a story of their own that is currently mid-process, and together we'll experiment with different revision tactics and leave the workshop with a concrete plan on how to move from close-but-no-cigar to publishable story.
Other Peoples' Stories: How to Tell, When to Tell, and When Not To Tell
with David Wanczyk
As memoirists and journalists, the stories we tell are not just our own. Whether we’re writing about our family, our colleagues, or even the subjects of a profile who know they’re being covered, we will face difficulties—questions of discretion, of truth-in-characterization. We might even have phobias about representation in general, knowing as we do how important it is for people—especially people who are marginalized—to have control of their own narratives. This workshop will explore strategies for writing nonfiction that is straightforward, but also respectful of boundaries. Author and New Ohio Review Editor David Wanczyk will share what he's learned from his experience researching and writing his nonfiction book, Beep, about blind people and the sport they play. The class will include time to share and discuss participants' projects as well.
Narrative Nonfiction & History Writing
with Ken Mondschein, Ph.D.
This casual, discussion-based nonfiction class will pick up where the first session left off, although all new participants are more than welcome to join in! Among other things, we will revisit choosing an angle that will appeal to readers, finding the story therein, grabbing the reader's attention with sharp prose, dealing with controversies in interpretation, and organizing your information in a clear, engaging narrative style, although the class will mostly focus on sources and places for doing research, such as academic library access, journals, databases, archives, and books. If there's time, Ken will discuss how to identify an academic book's argument and how to take a new approach on the same topic. Whether you intend to write a small-scale piece such as a blog on family history or an article on the barns of colonial New England, or intend to spend the next few years crafting a multi-volume on World War II or the fall of the Roman Empire, Ken will teach you to think like a historian and tell your audience what you have to say in a way that will keep them reading.
Tell the Truth, But Tell It Slant: A Memoir Workshop
with Celia Jeffries
Like a novel, a memoir is a dramatic work. This 3-hour workshop will be a short introduction to the process of writing memoir, with a focus on how to dramatize, or ‘tell it slant.’ We will do exercises to generate new work, examine the ways memory functions in writing, and discuss a variety of ways to structure a memoir.
Adventures in Poetry
with Adam Grabowski
This generative poetry workshop will be broken up into two parts: First, we’ll examine how Jack Kerouac’s “Belief & Technique for Modern Prose” can be beneficial to poets as an inspirational, fun way to get past your “inner editor” and (re)discover the joys of pure expression. We will quite purposefully dodge any of Jack’s poetry, but expect to take a look at some Ginsberg or Whitman to see how this approach can successfully shake us out of complacency. Finally, we’ll put into action everything we've discussed. Attendees can expect a series of prompts with the goal of making sense out of the chaos and leaving with every poet’s favorite thing—new work.
Radical Revision Poetry
with Adam Grabowski
Do you have a poem that you just can’t get right? Well, bring the beast here and let’s see what we can do about it. Sometimes the best way to get past a creative block is to throw caution to the wind and destroy what you’ve built. In this class we’ll look at various forms of radical revision, how it can liberate you, provide new perspective on your work, and show you that in the end, poetry is a silly, silly business. This workshop will consist of writing exercises, group dialogue, Sylvia Plath, and creative critique. Bring in a poem that’s giving you trouble and let’s see if we can’t have you walking out the door with more answers than questions.
*Poets are asked to arrive with five double-spaced copies of their poem, a magic marker, and an open mind.
Sound Devices & Meter in Poetry
with Eleanor Lane
In this 4-hour generative workshop, we'll spend some time examining and practicing two important elements of poetry: sound devices and meter. In the first half of the class, we'll focus on sound devices (alliteration, assonance, consonance, repetition, rhyme) and how they can be used in poetry to convey meaning, create tension, and/or evoke a particular atmosphere. We'll look at some examples of poems that employ these devices, then we'll try our hands at using them in our own poetry. In the second half of the class, we'll turn our focus to meter: What is it, and how can we take advantage of it in our own verses? We'll practice recognizing different meters, look at some formal and free verse poems that make use of it, then discuss and practice how to use meter to convey meaning in our own poetry. Students will leave with a thorough understanding of these elements and a familiarity with their use, as well as several new poems Open to writers of all levels.
Lyric-Writing for Songwriters
with Kelly Vogel
In this 3-hour workshop for songwriters, we will focus on what it is that makes great lyrics! In a supportive and lively environment, we will do exercises to spark your creativity and craft those creative ideas into vivid lyrics for your own songs. We will explore ways to find the best words to express your own unique ideas, and organize rhythms and rhymes into compelling verses, choruses, and bridges. Most importantly, we’ll dig into what makes your writing voice uniquely yours – and what can, in turn, help make your lyrics and songs all your own. This workshop is for all levels of musicians interested in exploring their lyric-writing voice. No lyric-writing experience necessary; experience playing an instrument is helpful but not necessary. Open to all ages - young songwriters encouraged to sign up as well!
Intro to Creative Nonfiction
with Emily Butler
Creative Nonfiction writers take true stories and use them to create written narratives using many of the same literary techniques as fiction writers. In this workshop, we'll discuss several forms of Creative Nonfiction, such as the personal essay and the profile essay, as well as related sub-genres including travel writing and memoir. We'll also discuss and practice the literary techniques used to craft these stories, i.e., a balance of scene and summary, rich characterization, believable dialogue, and an effective frame or arc. Participants will be offered several prompts and opportunities to write and share their work. Whether you are an avid writer of Creative Nonfiction wishing to practice and discuss the genre with other writers, or you would like to explore a new genre, you are welcome in this class. No experience necessary.
The Art and Business of Audiobooks
with Steven Jay Cohen
Audiobook sales are booming, growing over 20% since 2016 (according to the Audio Publishers Association). Wondering how you can grow your audience, reaching listeners as well as readers? Steven Jay Cohen, Audiobook Producer at Spoken Realms, will walk you through the process from working with audio rights, to production, to publication, to distribution, to marketing, explaining all of the options now available. Open to writers and authors of all levels, traditionally published and independent authors with existing or soon-to-be-published books.
Poetic Forms: Sonnet, Haiku, and Ghazal
with Eleanor Lane
Are you curious about how to incorporate elements of traditional forms into your poetry? In this workshop, we'll examine three poetic forms: the sonnet, the haiku, and the ghazal. We'll read some traditional and non-traditional examples, discuss how to use the elements of each form in our own writing and the advantages that each offers, and lastly we'll do some exercises that allow us to practice these forms. We'll also touch on the history of each form, traditional subject matter, meter, line length, rhyme scheme, and repetition. Open to writers of all levels.
Starting Your Memoir: One-Day Nonfiction Workshop
with Lynn Magovern
Memoir satisfies our innate curiosity, allowing us to peer into someone else’s unique world. Writing a memoir, however, taps into something deeper: the desire to be heard and understood. One reason the memoir form is so popular is because it offers a creative outlet for this desire, giving us a compelling, artful way to share our stories with others while also helping us define who we are.
If you’ve experienced the desire to tell stories about your life but aren't sure where to start, this course is for you! In this two-hour session, you'll take the first steps in getting your stories down on the page. We'll begin with freewriting, respond to prompts, and move through basic technical concepts. The session will culminate with work on a short descriptive scene. With these concrete practices and tools in mind, you will leave with a clear foundation from which to continue your memoir-writing. Open to writers of all levels.
Details, Details: Striking a Balance Between the Forest and the Trees
with Sara Rauch
Details are the bricks with which a writer builds a story or poem. Without them, a piece of writing will lack immediacy, clarity, and that je ne sais quoi. But you can have too much of a good thing—overload your work with unimportant details and it will topple under the weight of them, obscuring the larger picture. How does one balance the necessity of detail with the overall arc and structure of a piece of writing? What, exactly, comprises a perfect detail? In this workshop, we’ll look at a variety of examples and discuss how, where, and why details work, or don’t. We’ll discuss what’s too much and what’s not enough, how “good” and “bad” details usually depend on context, and how to decide if a detail is pertinent to a piece or not. We’ll spend some time discussing how detail influences the reader’s perception of the work as a whole, and how to make sure the details you choose inform your work in the best way possible. Finally, we’ll create some of our own details, either based on a current work in progress or with the intention of building a new piece upon them. Open to writers of all levels.
The No-Nonsense Guide to Submitting to Literary Magazines
with Sara Rauch
Have you been writing for a while and want to get your work out there but aren’t sure where to begin? Have you been submitting for a while and have only a pile of rejections to show for your effort? Are you overwhelmed by the variety of different guidelines?
This workshop is for anyone looking to get their work out into the world via literary magazines. We’ll talk about what editors love (and don’t), the necessity of cover letters, how to approach the different genres, when to follow up, decoding guidelines, various submission platforms and services (Submittable, Duotrope, etc.), submission fees, contests, the pros and cons of print vs online publications, and more. You’ll leave with a packet full of concrete advice and even a few suggestions for where to start submitting your particular work. Open to writers of all levels and genres.
Place: Intro to World-Building
with Joy Baglio
What is place, exactly? Is it a quick backdrop to your story, or is it something more? According to Dorothy Allison, "Place is often something you don't see because you're so familiar with it that you devalue it or dismiss it or ignore it. But in fact it is the information your reader most wants to know." In this class, we'll discuss the fundamental role of place in our writing and its importance for the development of both our characters and for the overall shape of our stories. We’ll look at examples from a range of writers, including Paul Bowles, Hemingway, Angela Carter, Karen Russell, Flannery O’Connor, and Dorothy Allison. We’ll respond to several in-class writing exercises, and we’ll leave with a more inspired view of the importance of place in our own writing as well as some concrete direction on creating more vivid worlds. Participants in this class will be asked to complete a one-page writing assignment in advance of the class. Open to writers of all levels and genres.
Secrets of Magical Realism: How to Write Reality-Bending Fiction that Works
with Joy Baglio
Flannery O'Connor has said of fiction that imagines outside of reality, “The truth is not distorted here, but rather a distortion is used to get at truth." In this class, we'll explore types of fabulist distortions and the real-world truths they allow us to access. We’ll begin by discussing the various labels that have arisen to describe an overlapping pool of work: What's the difference between slipstream, fabulism, magical realism, and speculative fiction? Where do we fall in the mix, and how can we create reality-bending stories that feel grounded and relevant, or as Flannery O'Connor wrote, "imaginary gardens with real toadstools"? We'll look at examples from the works of master fabulists Franz Kafka, Aimee Bender, Karen Russell, Kelly Link, Karen Joy Fowler, Helen Philips, and Ted Chiang, among others, and we’ll discuss what technical choices each author makes and the resulting effects. We’ll end with twenty minutes of in-class writing in response to a given prompt. Participants in this class will be asked to bring with them a one-page sample of a current writing project. Open to writers of all levels.
Hooked From the First Line: The Art of the Opening
with Joy Baglio
The best writers establish authority immediately. It's that feeling you have as a reader when you know you're in capable, experienced hands. The result? You, the reader, are hooked! But how does a writer establish authority? What do successful beginnings have in common? In what different ways can a reader be hooked? In this class, we'll study a range of different openings with an eye towards how they establish authority from the first line. In addition to discussing the many different strategies for successful beginnings, we'll try our hands at writing a few opening lines of our own. Open to writers of all levels.
Secrets of Writing Dialogue
with Joy Baglio
Good dialogue is a real art form in itself. Some writers really pull it off, and others we see right through. We've all probably heard writers discuss it almost as a separate skill: "He's so good at dialogue" or "Her dialogue wasn't believable." So what are the expert dialogue writers really doing when they craft their brilliant and witty banter? In this class, we'll look at some successful examples of dialogue in the works of Wells Tower, Flannery O’Connor, Hemingway, and others. We'll discuss when and how to use dialogue most effectively, and we’ll try our hands at several fun dialogue-writing exercises. Participants will be asked to complete a dialogue-writing exercise in advance of the class. Open to writers of all levels.
Plot and Structure Bootcamp
with Joy Baglio
Where should the story begin? Where should it end? How do I move the story forward in a way that's most compelling? We'll attempt to answer these questions and more in this class. Structure and plot are the bones of any story, and without these aspects firmly in place, even the most imaginative work can feel limp and lifeless. In this class, we'll parse out the nuts and bolts of what creates sound structure in short fiction. We’ll discuss different narrative and structural strategies and the reasons that might lead authors to choose one over the other. In addition, we'll discuss the issues, problems, and difficulties we face when plotting and structuring our fiction. We'll try our hands at a short plot-creation exercise that we'll share with the group. Participants will read two short stories in advance of the class. Open to writers of all levels.
All About Character: Details, Development, Motivation
with Joy Baglio
Perhaps you’re wondering how to make your characters more believable? Are they driven by fierce, urgent desires, or is what motivates them vague and confusing? What are some ways to create more empathy for your characters, even the obviously flawed ones? In this class, we'll focus on all-things character-related: From descriptive details and minor characters to protagonist development, motivation, and character arcs. We’ll look at examples from Tim O’Brien, Aimee Bender, Flannery O’Connor, and Nabokov, among others, and we’ll discuss the specific choices that each author makes in the creation of vibrant characters that readers have a hard time forgetting. Participants will leave with several character sketches based on in-class writing exercises, as well as a clearer understanding of what goes into creating compelling characters. Bring any questions you have regarding character-creation in a recent project. Open to writers of all levels.
with Cindy Littlefield
The key to crafting truly sympathetic characters (be they heroes or villains) is to make their emotions so palpable on the page that the reader actually feels them too. Ironically, the trick is to never identify those sentiments by name. In this one-day class, we will study passages from contemporary fiction (and film) that exemplify how effectively the masters use subtext to communicate love, grief, anger, sadness, elation, etc. in their prose. Next, we’ll try our hand at employing language, perception, and other elements of craft to deftly convey our own characters’ state of mind. Prompts will be provided for the writing exercise, but participants may choose to work on revising an excerpt from a work in progress if they prefer.
Debunking the "Show, Don't Tell" Myth
with Kate Senecal
If you even took one writing class in high school or college you've heard the phrase "show, don't tell." In this workshop, we'll explore the many ways that "telling" is useful, and how good prose is actually made up of a rich combination of BOTH showing and telling. Participants will learn strategies around the best way to reveal information in their short stories depending on the context and the desired effect through analyzing published work, class discussion, and in class writing exercises. Students will be provided with the option of sharing their work in class and obtaining verbal feedback, but this is at the participants' discretion.
Point of View and Narrative Distance
with Seth Harwood
First person, third person… second person? Close third person, distant third… omniscient? If you’ve pondered these concepts before and wondered either which would fit best for a given story you’re working on, or even which designation you’re writing in, this is the course for you. Together, we'll unpack and demystify point of view and the all important but oft-misunderstood metric of narrative distance. Understanding these important craft tools can make all the difference in keeping readers interested, grounded, and plugged in.
Put Your Story In Its Place: Making the Most of Setting
with Cindy Littlefield
It’s hard to overemphasize how compelling setting can be in creative writing. It’s not just that it lends significant context by grounding a story in a physical place and time. Done well, it also has the ability to illustrate and steer the narrative’s emotional undercurrents in dramatic and amazing ways. Think of how influential setting is in shaping such great novels as Water for Elephants, A Thousand Acres, The Shipping News, and The Things They Carried, to name a few. Not to mention the mesmerizing storylines of series such as West Wing, Nurse Jackie, and the Sopranos. This one-day class will delve into the significant role locale, weather, era, culture, and geography play in so many of the captivating narratives we all love. We’ll discuss how to choose and incorporate compelling setting descriptions and details that do the job without being effusive, then work through a series of inspiring prompts to establish a powerful sense of place in our own writing.
Writing the Scary Story: How to Hook and Frighten Your Reader
with Eleanor Lane
Do you aspire to write tales that terrify your readers? Join us in investigating how to create a tense and unnerving story through setting, characterization, and structure. How do we draw readers in and cultivate frightening atmospheres? How do we create menacing settings and monsters that haunt the reader long after they are done reading? We will examine some short and flash fiction pieces, and discuss the elements the authors use to draw readers in and set them on edge. Open to beginner and intermediate writers.
Path to Publishing Your Fiction
with Joy Baglio
This informational workshop will cover two important topics related to getting your work out in the world:
- The submissions process, which includes researching the market, submitting to literary journals, querying agents, writing cover letters, dealing with rejection, getting your work to stand out in the slush pile, and what happens after an acceptance. We'll also look at sample query letters and cover letters.
- Other opportunities that can lead to career breakthroughs, including sources of funding for your writing, developing a platform for yourself as a writer, conferences and workshops, and growing your network.
Publishing Your Poems
with Gail Thomas
Whether you want to submit individual poems to journals or publish a complete manuscript, this workshop will give practical advice for presenting your best work. We'll explore how to find journals and presses that best fit your writing style, the importance of formatting, titles, and cover letters, poetry contests and the option of self-publishing. Publication involves risk-taking, so we'll also talk about dealing with rejection. *Please bring five poems for the hands-on demonstration of how these might work as a manuscript. Recommended for intermediate and advanced writers who have a body of work.
Cultivating a Regular Writing Practice: A Bridge Between the Head & Heart
with Kate Senecal
This all-day workshop seeks to investigate the moving parts of a successful writing practice, and leave students with a solid plan regarding how to create momentum in their writing lives. We'll discuss finding balance between conquering writer's block, performance anxiety, allowing your intuition to steer the ship and developing concrete craft knowledge and revision strategies. Class include writing exercises, in-class readings, lively discussion, and active project planning. We will not be critiquing each other's work.
A Little Time for Poetry
with Carolyn Zaikowski
Life is busy. We don’t get the chance to steep in our poetry practice as often as we'd like, and we find ourselves getting more disconnected from our writing life—sometimes for months or years. The purpose of this class is to give us a quiet, supportive, and structured space to simply be poets for a few hours. This class is perfect for those who want to do some self-care and reconnect with their inner poet, as well as for those who simply crave a block of time to write and think about poetry.
We will:
- Reflect on our individual poetry interests/goals to get them conscious and activated again.
- Brainstorm ways to incorporate a poetry practice into our lives.
- Do several sessions of in-class writing; interesting prompts will be offered for those who don’t have current poems or projects to bring.
- Engage in supportive, guided sharing and feedback sessions.
- Explore basic resources for publishing, networking, and building community.
Mastering the Power of Verbs
with Seth Harwood
Verbs: they’re the strongest tool in your arsenal of words, the sharpest arrow in the quiver. Yet we often choose weak links, connector verbs instead of the strong, stunning verbs that can knock, kick, twirl, or break a character, even build, develop, or create a full story. Why? What choices are we making that we don’t even realize? Join Seth Harwood to look at the various types of verbs at our disposal, see how the right verbs can transform your writing, and develop a powerful new revision technique along the way.
Fun With Writer's Block
with Carolyn Zaikowski
So you have writer’s block? Great work—that means you’re a writer! Many of us get down on ourselves when we can’t get those words to come out. But, as Samuel Beckett famously wrote, "Ever tried. Ever failed. No matter. Try Again. Fail again. Fail better." Writer’s block is a nothing other than a normal step in the writing process, and there are all kinds of methods we can use to overcome it. In this workshop, participants will explore multiple ways of blasting themselves out of writer’s block, from classic methods like freewriting, to innovative mental and emotional prompts, to somatic and sensory writing warm-ups…and hopefully, some fun will be had! This workshop is for writers of all levels and genres who are looking to light a fire under themselves and get the words flowing. You'll leave with a range of interesting and creative writer’s block strategies to use in real life, far beyond the workshop setting. *Participants are asked to arrive with one to three ideas or unfinished pieces of any length to work with that they are currently stuck on.
Exploring Grief Through Experimental Writing
with Nikki Sambitsky
Have you ever wondered what form grief can take in writing? In this workshop, we'll look at experimental and hybrid forms as well as the lyric essay as both vehicles that provide an access point to emotional depth as well as a way to give voice to the unspeakable. What does hybrid writing offer us that traditional creative nonfiction sometimes cannot?
In the first half of this all-day seminar, we'll look at and discuss how grief disrupts, enhances, and shows up for writers like Kate Zambreno, Lia Purpura, Maggie Nelson, Eula Biss, Stephen Kuusisto, and Roland Barthes. We'll discuss some of the techniques and hallmarks of experimental writing, such as wordplay, meaningful and purposeful use of whitespace, unusual forms, the relationship between form and content, punctuation, style, sound, metaphor, and simile, among others. We'll also examine an excerpt from Cheryl Strayed’s memoir, Wild, to illuminate the striking differences between grief in memoir versus grief in the lyric essay. During the second half of the seminar, we'll do some writing in response to several exercises based on our own personal grief-filled or difficult experiences. Open to writers of all levels and genres.
Five-Year Creative Planning
with Francine Puckly
In this hands-on workshop, writers, illustrators, and artists of all types have the opportunity to turn their long-term creative hopes into concrete goals over a five-year period. Participants begin the workshop by defining five-year visions for their careers. But just as the idea for a novel doesn’t turn into a book without a plot and outline, our careers must have detailed roadmaps delineating the work that must be done, at what pace, and in what order. Five-year visions are turned into annual goals, and those annual plans give way to quarterly, monthly and weekly tasks. Participants will leave the workshop with concrete plans that incorporate all aspects of projects, including (but not limited to): topic research, number of drafts required, editor/agent research, submission goals and tracking, skill acquisition (conferences, workshops, writing retreats), and social media strategies/website development needs. Open to writers and artists of all levels and genres.
Mastering Dialogue
with Sara Rauch
Have you ever...
...gotten the sneaking suspicion when reading that characters are talking at you?
...muddled through a conversation on the page that feels stiff, false, speechy, or preachy?
...wondered if a writer lifted a conversation verbatim from a real-life scenario?
...puzzled over why some dialogue livens a story while other dialogue bores?
...struggled with how to get more than two characters talking without confusion?
...wanted to use dialogue to convey important details and illuminate plot but don’t know where to begin?
If "yes" to any of these, this workshop is for you!
In this class, we’ll discuss how dialogue functions in writing and why some dialogue feels natural and other dialogue stiff. We’ll look at some examples and discuss what's successful and what isn’t. We’ll spend some time talking about the art of listening, which is intimately related to writing effective dialogue. Finally, we'll try our hands at some fun exercises to get your he said, she said juices flowing. Open to writers of all levels, genres, and experiences.
Creating Characters
with Carolyn Zaikowski
Writing great fiction requires creating compelling, three-dimensional characters who break through clichés and stereotypes. In this class we'll explore questions like: What are the internal states and motivations of our characters? How does that connect to their external behaviors—how do they think, feel, and act in different situations and environments, from the mundane to the profound? What are their personal, social, and cultural histories, and how much of that should we reveal? What should we take into account when writing characters who come from different social or cultural groups than we do? We'll use a variety of in-class explorations and guided discussions to get at these core issues, and we’ll bring our characters to life with some group workshopping activities. *Participants should come prepared with a basic sense of a character or characters they’d either like to create or have already been working on.*
Mastering Beginnings & Endings
with Kate Senecal
Ann Hood once wrote that Beginnings "put into motion the events that will drive the story to its resolution. And the resolution is often the inverse of the opening." In this class, we'll investigate the connection between the beginnings and endings of short stories and novels and discuss how to write opening and closing lines that draw the reader in and leave them satisfied. We'll look at a wide variety of beginnings and endings with an eye toward finding connections and identifying how the language anchors the story.
*Participants will be asked to read "In the Cemetery Where Al Jolson Is Buried" (10 pages) by Amy Hempel in advance of the class.
Reading Like a Writer
with Sara Rauch
Behind every good writer is a good reader. But what makes a good reader? A healthy curiosity, and a willingness to examine what is working (and what isn’t) in any given text. In this class, we’ll focus our attention on close reading: how to hone the skills necessary to really delve into a piece of prose and find what makes it tick, and then how to apply what you learn to your own work. In this class, we’ll scrutinize two different pieces of prose from the word and sentence level outward to character traits and motivations, plot, and narrative structure; we’ll talk about what works and what doesn’t on a craft level, how to discern between quality and personal taste, and how to make the leap from reading to actually writing. We’ll also talk about the role imitation can (and does) play in first drafts, and why reading broadly is so important to every writer at every stage of their career. Lastly, we’ll spend some time talking about ways to make reading like a writer an enjoyable experience.
Narrative Recycling: Retelling Familiar Stories
with Eleanor Lane
For as long as stories have been told, certain narratives have been retold throughout the ages in different styles, forms, and voices, often finding their way to us in the forms of folklore, fairytales, and myths. In this workshop, we'll look at how to use elements of mythology and folklore in our own writing and how to balance retelling with inventing. We'll consider how allusions function, the different possible ways of structuring a retelling, as well as which aspects of the original story often change in the retelling.We will examine stories by Carmen Maria Machado, Margaret Atwood, and Angela Carter, then discuss how these authors use familiar narratives to tell their own, new stories. Come prepared to engage with your favorite myths and fairytales! Participants will have an opportunity to practice using mythology and folklore in their own writing in response to several in-class writing exercises. *Participants will be asked to read several short stories in advance of the class. The texts will be emailed to everyone.
Revision Strategies for Fiction Writers
with Kate Senecal
Some writers think of revision as the drudge work of writing, yet when approached with the right tools and perspective, revision can be a playful and often enlightening exploration. This workshop will show you how fine-tuning and looking at your own work with fresh eyes can transform a first draft from something raw and not-quite-there into an eloquent and compelling piece of prose. We'll focus on specific revision strategies that will help you identify the parts of your story that aren't working and, in the supportive company of others, figure out solutions to the problem areas of your narrative. Participants will use a story of their own that is currently mid-process, and together we'll experiment with different revision tactics and leave the workshop with a concrete plan on how to move from close-but-no-cigar to publishable story.
Other Peoples' Stories: How to Tell, When to Tell, and When Not To Tell
with David Wanczyk
As memoirists and journalists, the stories we tell are not just our own. Whether we’re writing about our family, our colleagues, or even the subjects of a profile who know they’re being covered, we will face difficulties—questions of discretion, of truth-in-characterization. We might even have phobias about representation in general, knowing as we do how important it is for people—especially people who are marginalized—to have control of their own narratives. This workshop will explore strategies for writing nonfiction that is straightforward, but also respectful of boundaries. Author and New Ohio Review Editor David Wanczyk will share what he's learned from his experience researching and writing his nonfiction book, Beep, about blind people and the sport they play. The class will include time to share and discuss participants' projects as well.
Narrative Nonfiction & History Writing
with Ken Mondschein, Ph.D.
This casual, discussion-based nonfiction class will pick up where the first session left off, although all new participants are more than welcome to join in! Among other things, we will revisit choosing an angle that will appeal to readers, finding the story therein, grabbing the reader's attention with sharp prose, dealing with controversies in interpretation, and organizing your information in a clear, engaging narrative style, although the class will mostly focus on sources and places for doing research, such as academic library access, journals, databases, archives, and books. If there's time, Ken will discuss how to identify an academic book's argument and how to take a new approach on the same topic. Whether you intend to write a small-scale piece such as a blog on family history or an article on the barns of colonial New England, or intend to spend the next few years crafting a multi-volume on World War II or the fall of the Roman Empire, Ken will teach you to think like a historian and tell your audience what you have to say in a way that will keep them reading.
Tell the Truth, But Tell It Slant: A Memoir Workshop
with Celia Jeffries
Like a novel, a memoir is a dramatic work. This 3-hour workshop will be a short introduction to the process of writing memoir, with a focus on how to dramatize, or ‘tell it slant.’ We will do exercises to generate new work, examine the ways memory functions in writing, and discuss a variety of ways to structure a memoir.
Adventures in Poetry
with Adam Grabowski
This generative poetry workshop will be broken up into two parts: First, we’ll examine how Jack Kerouac’s “Belief & Technique for Modern Prose” can be beneficial to poets as an inspirational, fun way to get past your “inner editor” and (re)discover the joys of pure expression. We will quite purposefully dodge any of Jack’s poetry, but expect to take a look at some Ginsberg or Whitman to see how this approach can successfully shake us out of complacency. Finally, we’ll put into action everything we've discussed. Attendees can expect a series of prompts with the goal of making sense out of the chaos and leaving with every poet’s favorite thing—new work.
Radical Revision Poetry
with Adam Grabowski
Do you have a poem that you just can’t get right? Well, bring the beast here and let’s see what we can do about it. Sometimes the best way to get past a creative block is to throw caution to the wind and destroy what you’ve built. In this class we’ll look at various forms of radical revision, how it can liberate you, provide new perspective on your work, and show you that in the end, poetry is a silly, silly business. This workshop will consist of writing exercises, group dialogue, Sylvia Plath, and creative critique. Bring in a poem that’s giving you trouble and let’s see if we can’t have you walking out the door with more answers than questions.
*Poets are asked to arrive with five double-spaced copies of their poem, a magic marker, and an open mind.
Sound Devices & Meter in Poetry
with Eleanor Lane
In this 4-hour generative workshop, we'll spend some time examining and practicing two important elements of poetry: sound devices and meter. In the first half of the class, we'll focus on sound devices (alliteration, assonance, consonance, repetition, rhyme) and how they can be used in poetry to convey meaning, create tension, and/or evoke a particular atmosphere. We'll look at some examples of poems that employ these devices, then we'll try our hands at using them in our own poetry. In the second half of the class, we'll turn our focus to meter: What is it, and how can we take advantage of it in our own verses? We'll practice recognizing different meters, look at some formal and free verse poems that make use of it, then discuss and practice how to use meter to convey meaning in our own poetry. Students will leave with a thorough understanding of these elements and a familiarity with their use, as well as several new poems Open to writers of all levels.
Lyric-Writing for Songwriters
with Kelly Vogel
In this 3-hour workshop for songwriters, we will focus on what it is that makes great lyrics! In a supportive and lively environment, we will do exercises to spark your creativity and craft those creative ideas into vivid lyrics for your own songs. We will explore ways to find the best words to express your own unique ideas, and organize rhythms and rhymes into compelling verses, choruses, and bridges. Most importantly, we’ll dig into what makes your writing voice uniquely yours – and what can, in turn, help make your lyrics and songs all your own. This workshop is for all levels of musicians interested in exploring their lyric-writing voice. No lyric-writing experience necessary; experience playing an instrument is helpful but not necessary. Open to all ages - young songwriters encouraged to sign up as well!
Intro to Creative Nonfiction
with Emily Butler
Creative Nonfiction writers take true stories and use them to create written narratives using many of the same literary techniques as fiction writers. In this workshop, we'll discuss several forms of Creative Nonfiction, such as the personal essay and the profile essay, as well as related sub-genres including travel writing and memoir. We'll also discuss and practice the literary techniques used to craft these stories, i.e., a balance of scene and summary, rich characterization, believable dialogue, and an effective frame or arc. Participants will be offered several prompts and opportunities to write and share their work. Whether you are an avid writer of Creative Nonfiction wishing to practice and discuss the genre with other writers, or you would like to explore a new genre, you are welcome in this class. No experience necessary.
The Art and Business of Audiobooks
with Steven Jay Cohen
Audiobook sales are booming, growing over 20% since 2016 (according to the Audio Publishers Association). Wondering how you can grow your audience, reaching listeners as well as readers? Steven Jay Cohen, Audiobook Producer at Spoken Realms, will walk you through the process from working with audio rights, to production, to publication, to distribution, to marketing, explaining all of the options now available. Open to writers and authors of all levels, traditionally published and independent authors with existing or soon-to-be-published books.
Poetic Forms: Sonnet, Haiku, and Ghazal
with Eleanor Lane
Are you curious about how to incorporate elements of traditional forms into your poetry? In this workshop, we'll examine three poetic forms: the sonnet, the haiku, and the ghazal. We'll read some traditional and non-traditional examples, discuss how to use the elements of each form in our own writing and the advantages that each offers, and lastly we'll do some exercises that allow us to practice these forms. We'll also touch on the history of each form, traditional subject matter, meter, line length, rhyme scheme, and repetition. Open to writers of all levels.
Starting Your Memoir: One-Day Nonfiction Workshop
with Lynn Magovern
Memoir satisfies our innate curiosity, allowing us to peer into someone else’s unique world. Writing a memoir, however, taps into something deeper: the desire to be heard and understood. One reason the memoir form is so popular is because it offers a creative outlet for this desire, giving us a compelling, artful way to share our stories with others while also helping us define who we are.
If you’ve experienced the desire to tell stories about your life but aren't sure where to start, this course is for you! In this two-hour session, you'll take the first steps in getting your stories down on the page. We'll begin with freewriting, respond to prompts, and move through basic technical concepts. The session will culminate with work on a short descriptive scene. With these concrete practices and tools in mind, you will leave with a clear foundation from which to continue your memoir-writing. Open to writers of all levels.
Details, Details: Striking a Balance Between the Forest and the Trees
with Sara Rauch
Details are the bricks with which a writer builds a story or poem. Without them, a piece of writing will lack immediacy, clarity, and that je ne sais quoi. But you can have too much of a good thing—overload your work with unimportant details and it will topple under the weight of them, obscuring the larger picture. How does one balance the necessity of detail with the overall arc and structure of a piece of writing? What, exactly, comprises a perfect detail? In this workshop, we’ll look at a variety of examples and discuss how, where, and why details work, or don’t. We’ll discuss what’s too much and what’s not enough, how “good” and “bad” details usually depend on context, and how to decide if a detail is pertinent to a piece or not. We’ll spend some time discussing how detail influences the reader’s perception of the work as a whole, and how to make sure the details you choose inform your work in the best way possible. Finally, we’ll create some of our own details, either based on a current work in progress or with the intention of building a new piece upon them. Open to writers of all levels.
The No-Nonsense Guide to Submitting to Literary Magazines
with Sara Rauch
Have you been writing for a while and want to get your work out there but aren’t sure where to begin? Have you been submitting for a while and have only a pile of rejections to show for your effort? Are you overwhelmed by the variety of different guidelines?
This workshop is for anyone looking to get their work out into the world via literary magazines. We’ll talk about what editors love (and don’t), the necessity of cover letters, how to approach the different genres, when to follow up, decoding guidelines, various submission platforms and services (Submittable, Duotrope, etc.), submission fees, contests, the pros and cons of print vs online publications, and more. You’ll leave with a packet full of concrete advice and even a few suggestions for where to start submitting your particular work. Open to writers of all levels and genres.
Place: Intro to World-Building
with Joy Baglio
What is place, exactly? Is it a quick backdrop to your story, or is it something more? According to Dorothy Allison, "Place is often something you don't see because you're so familiar with it that you devalue it or dismiss it or ignore it. But in fact it is the information your reader most wants to know." In this class, we'll discuss the fundamental role of place in our writing and its importance for the development of both our characters and for the overall shape of our stories. We’ll look at examples from a range of writers, including Paul Bowles, Hemingway, Angela Carter, Karen Russell, Flannery O’Connor, and Dorothy Allison. We’ll respond to several in-class writing exercises, and we’ll leave with a more inspired view of the importance of place in our own writing as well as some concrete direction on creating more vivid worlds. Participants in this class will be asked to complete a one-page writing assignment in advance of the class. Open to writers of all levels and genres.
Secrets of Magical Realism: How to Write Reality-Bending Fiction that Works
with Joy Baglio
Flannery O'Connor has said of fiction that imagines outside of reality, “The truth is not distorted here, but rather a distortion is used to get at truth." In this class, we'll explore types of fabulist distortions and the real-world truths they allow us to access. We’ll begin by discussing the various labels that have arisen to describe an overlapping pool of work: What's the difference between slipstream, fabulism, magical realism, and speculative fiction? Where do we fall in the mix, and how can we create reality-bending stories that feel grounded and relevant, or as Flannery O'Connor wrote, "imaginary gardens with real toadstools"? We'll look at examples from the works of master fabulists Franz Kafka, Aimee Bender, Karen Russell, Kelly Link, Karen Joy Fowler, Helen Philips, and Ted Chiang, among others, and we’ll discuss what technical choices each author makes and the resulting effects. We’ll end with twenty minutes of in-class writing in response to a given prompt. Participants in this class will be asked to bring with them a one-page sample of a current writing project. Open to writers of all levels.
Hooked From the First Line: The Art of the Opening
with Joy Baglio
The best writers establish authority immediately. It's that feeling you have as a reader when you know you're in capable, experienced hands. The result? You, the reader, are hooked! But how does a writer establish authority? What do successful beginnings have in common? In what different ways can a reader be hooked? In this class, we'll study a range of different openings with an eye towards how they establish authority from the first line. In addition to discussing the many different strategies for successful beginnings, we'll try our hands at writing a few opening lines of our own. Open to writers of all levels.
Secrets of Writing Dialogue
with Joy Baglio
Good dialogue is a real art form in itself. Some writers really pull it off, and others we see right through. We've all probably heard writers discuss it almost as a separate skill: "He's so good at dialogue" or "Her dialogue wasn't believable." So what are the expert dialogue writers really doing when they craft their brilliant and witty banter? In this class, we'll look at some successful examples of dialogue in the works of Wells Tower, Flannery O’Connor, Hemingway, and others. We'll discuss when and how to use dialogue most effectively, and we’ll try our hands at several fun dialogue-writing exercises. Participants will be asked to complete a dialogue-writing exercise in advance of the class. Open to writers of all levels.
Plot and Structure Bootcamp
with Joy Baglio
Where should the story begin? Where should it end? How do I move the story forward in a way that's most compelling? We'll attempt to answer these questions and more in this class. Structure and plot are the bones of any story, and without these aspects firmly in place, even the most imaginative work can feel limp and lifeless. In this class, we'll parse out the nuts and bolts of what creates sound structure in short fiction. We’ll discuss different narrative and structural strategies and the reasons that might lead authors to choose one over the other. In addition, we'll discuss the issues, problems, and difficulties we face when plotting and structuring our fiction. We'll try our hands at a short plot-creation exercise that we'll share with the group. Participants will read two short stories in advance of the class. Open to writers of all levels.
All About Character: Details, Development, Motivation
with Joy Baglio
Perhaps you’re wondering how to make your characters more believable? Are they driven by fierce, urgent desires, or is what motivates them vague and confusing? What are some ways to create more empathy for your characters, even the obviously flawed ones? In this class, we'll focus on all-things character-related: From descriptive details and minor characters to protagonist development, motivation, and character arcs. We’ll look at examples from Tim O’Brien, Aimee Bender, Flannery O’Connor, and Nabokov, among others, and we’ll discuss the specific choices that each author makes in the creation of vibrant characters that readers have a hard time forgetting. Participants will leave with several character sketches based on in-class writing exercises, as well as a clearer understanding of what goes into creating compelling characters. Bring any questions you have regarding character-creation in a recent project. Open to writers of all levels.