Our intimate and interactive workshops are restricted to fourteen participants, with the exception of the Master Class which is limited to twelve. Participants will follow their instructors for three mornings, from 9:00 a.m. to 12:00 p.m. Enrollment for all workshops is first come, first served, with the exception of the Master Class which entails a juried entry (submissions for which must be received by May 15). Participants for all workshops will be expected to submit work prior to the workshop, and to read and comment on the work of others. Submission guidelines will be supplied upon enrollment.
advanced story structure for any genre
Whether writing novel, memoir, short fiction, or for stage or screen, every story has a beginning, middle, and end—not necessarily in that order. So what tools can we employ to keep our plots and characters engaging and fresh? The building blocks of storytelling are as old as time, but structural templates are constantly changing. Novelist, playwright, and screenwriter Jody Gehrman shares her most valuable story structure tools.
the novel-writing journey
Writing a long work of fiction, Stephen King said, can be like crossing the Atlantic Ocean in a bathtub. This workshop with Michael David Lukas will provide provisions to support us through the long (but rewarding) journey that is writing a novel. With peer workshops, short craft lectures, in-class writing exercises, and discussion of excerpts from authors such as Ann Patchett, Junot Díaz, and Jennifer Egan, we will grow as writers as well as readers. By the end, we will have what we need to hop in that bathtub and start paddling.
the elements of short fiction
In this workshop with Kat Meads, we’ll begin by re-examining the elements of fiction—including character, structure, and point of view—through discussion and short in-class writing exercises. We’ll also workshop a short story from each participant and discuss revision strategies in a supportive environment.
mg/ya: who are your characters?
In this workshop, we’ll try to untangle the notion of “plot” from “story” so that our novels can focus on who our characters are and why they do what they do—which Lewis Buzbee believes is the key to a successful MG/YA novel. Along with workshop critiques, we’ll have brief lectures, and will also undertake writing exercises meant to put ideas into practice.
making meaning in memoir
How do we think beyond what our memoirs are about in order to better understand what they mean? In this workshop with John W. Evans, we will spend our first day doing intensive writing exercises to explore and review ideas of craft and form. We will then apply those ideas in our workshop discussions of participants’ submitted manuscripts.
facets of poetry
This workshop with poet Shara McCallum will include discussions of craft that arise out of, and respond to, poems submitted by participants. We will use generative exercises to explore the focus of each day, be it image versus description, the use of the line in relation to the sentence, evoking persona and voice, or writing by ear.
ROCKET DESIGN 101: EMERGING WRITERS workshop
Writing is an ancient memory technology developed to solve the problem of limited headspace—one that transforms its practitioners into adherents of a wholly new way of being. And we expect it to be easy?
In this workshop with Lisa Locascio, we’ll explore elements of the writing process, from invention to generation to completion to revision. But the work of workshop is only half of the equation—we will also learn a great deal about each other, and ourselves. Together, we’ll figure out what this crazy and beautiful act is, and how best to undertake it collectively and individually.