Good Grief! Writing for Patients and Caregivers (with Mary Ladd)

Mary Ladd




SATURDAY, APRIL 7  | Big challenges can spark writing that is personal, meaningful and cathartic. We’ll read from the masters: Oliver Sacks and Joan Didion and do our own generative short exercises to explore how to find points of entry into personal experiences of loss. The goal is to facilitate your ability to access memories and ideas and connect them to the page. A student favorite is the exercise to “write about the worst thing someone said to you in your grief,” which can be darkly funny.

You will leave the class with starting points for possible essays, stories, poems. 


Writing Your Memoir: The Art and Craft of Storytelling (with Zoe FitzGerald Carter)

Zoe FitzGerald Carter




WEDNESDAYS, APRIL 11 —MAY 2  |  This workshop is designed to help both budding and seasoned storytellers write lively, well-constructed memoirs and personal essays. Over four evenings, we will discuss the essential components of successful literary memoir: Structure, Scene, Story/Character Arc, and Theme.

We will read examples from recent essays and memoirs and consider the thorny issue of “truth in memoir” and the challenge inherent in writing about the people we love. Students are encouraged to share their writing conundrums although issues that are overly specific will be answered by the instructor privately.

There will be a short in-class writing exercise every week and students will have the chance to submit 6-8 pages of an esasy or manuscript for critique by the class.


Writing Out Loud (with Lisa Gray)

Lisa Gray




SUNDAY, APRIL 15  |  Words don’t live only on the page. Writers frequently read their work at festivals, book signings, and literary reading series. Much like the craft of writing, there is an art to reading your work out loud to an audience. Selecting the right piece to read is only half the battle. Knowing how to read in a way that engages your listeners (who are also potential readers) is the other part.

In this five-hour intensive workshop, writers will learn how to read their work to an audience for maximum impact. Students will learn how to: select what to read, modulate and project their voice, pace their reading, and practice and prepare ahead of time.


Tools Not Rules: A Screenwriting Workshop (with Xandra Castleton)

Xandra Castleton




MONDAYS, APRIL 16 —JUNE 11  |  This course provides guidance on the fundamentals of successful screenwriting within an open and encouraging workshop format, and is designed to accommodate all levels. Students will go through a typical development process; turning an idea into a viable premise, creating an outline, developing characters and storylines, building a world and exploring theme. The course ends with a “table read” of each students’ first ten pages of a feature screenplay or tv pilot.

Moving between screenwriting books, interviews, drama theory, scripts and films and the weekly exercises, we seek to avoid the pitfalls of formula by approaching screenwriting rules as tools and creating a space for ideas to grow.


Writing the Place (with Mark Wallace)

Mark Wallace




TUESDAYS, APRIL 17 —MAY 1  |  No matter how compelling the characters, dialogue, or action, great scenes need a sense of place that all too often gets short shrift. And when your subject is a place itself, the task is only more demanding. It’s easy to fall back on list-making when writing about place, and that’s a tool that can be used to great effect, but there are so many more approaches to be explored.

We’ll dive into some great writing about place, and will look at specific techniques great writers use to capture the world around them, focusing on writing about the real world, but looking at fiction as well.


Write, Revise, Submit: Flash Fiction (with Lyzette Wanzer)

Lizette Wanzer




TUESDAYS, APRIL 17 —MAY 22  | In this class you will birth, nurture, and release a brand-new flash fiction story. You will engage in extensive revisions of your work, and then during our last two weeks together, submit your finished piece to three literary journals for publication, or to three literary contests for judging. A laptop, tablet, or iPad is required for this workshop. If you write longhand, please also bring your journal or notebook along with your computer (not in place of it). Students registering for this class should be prepared to create new work from scratch in a concentrated, serious environment.


Radio and Podcasting 101 (with Grace Rubenstein & Julia Scott)

Grace Rubenstein and Julia Scott




WEDNESDAYS, APRIL 18 —MAY 9  |  Audio is a powerful medium that’s surging in popularity. It’s never been easier to produce high quality audio to get your message out, whether for radio stories, podcasting, personal promotion or business branding. But how do you get started? Two veteran journalists of public radio and podcasting show you the basics of how to record great audio, conduct killer interviews, craft a captivating story, and get your audio creations out into the world.

In this hands-on workshop, every student will produce a complete audio story — and will acquire the skills and confidence to produce future stories and whole podcasts on your own.


Writing the Perfect Pitch Letter (with Mark Wallace)

Mark Wallace




WEDNESDAYS, APRIL 18 & 25  | For a freelance journalist, essayist, or nonfiction writer, a good pitch letter can not only generate work but open doors, build new relationships, or even kickstart a career. But crafting the best pitch, targeting it to the right publication, and getting it in front of the right person isn’t always simple.

In this class, you’ll gain new insights into what editors are looking for and why—as well as all the reasons they don’t want to assign you that story—and learn new ways to make your pitch letters as compelling as possible.


Advanced Fiction (with Jenny Bitner)

Jenny Bitner




THURSDAYS, APRIL 19 — JUNE 7   |  This course is designed for students who have experience in a fiction writing workshop and want to go deeper in developing their writing. In our intimate workshop, we will discuss the direction your work is taking and how you can move it towards publication. Your will have the opportunity to have your work discussed in the workshop at least four times. We will discuss craft issues as they relate to strengthening your individual writing. You will be expected to read and give feedback on other students’ work. This class can be taken more than once.


Writing in Pictures: April One-Day Screenwriting Intensive (with Xandra Castleton)

Xandra Castleton




SATURDAY, APRIL 21  |  Writers of all levels interested in screenwriting often begin with the same questions (and some misconceptions) about how and why writing a screenplay is different from other forms of writing. What is the lifecycle of a screenplay? What is different about writing with collaborators (such as directors and actors) in mind? What is the relationship of the screenwriter to the audience? What does it mean to write in the immediate present? Why do some ideas lend themselves well to the screenplay form and others not so well? What, in practical terms, does it mean to “write in pictures”?