August Freelance Bootcamp (with Anisse Gross)


Anisse Gross

 

 

 

SATURDAY, AUGUST 26  |  Breaking into the world of freelance writing can seem mysterious and downright impossible at the outset. How will you make enough money? If you currently have a job, how do you transition into full-time freelancing? When can you take the plunge? Where will you find clients? How will you successfully pitch to publications, especially if you don’t have a portfolio?

It took me several years of pitfalls, wrong turns, financial struggling, over-caffeinated meltdowns, and learning on the job to successfully make it as a freelance writer. In this one-day bootcamp, I will teach you the fundamentals of how to successfully begin freelancing for a variety of publications including magazines, newspapers, websites, and other forms of paid writing and editing work.

READ MORE

Advanced Fiction Workshop (with Jenny Bitner)


Jenny Bitner

 

 

 

WEDNESDAYS, SEPTEMBER 13 — OCTOBER 18  |  This course is designed for students who have taken one of my classes, or who have experience in fiction writing workshops and want to develop their work further. Your work will be discussed in a writing workshop, and you will be expected to read and give feedback on other students’ work. There will be discussion of craft issues as they pertain to your writing.

Jenny Bitner’s short stories and articles have been published in Best American Nonrequired Reading, PANK, The Sun, Mississippi Review, The Fabulist, Writing That Risks, and Fence magazine.

READ MORE

Good Grief! A Writing Class for Patients & Caregivers (with Mary Ladd)


Mary Ladd

 

 

 

SATURDAY, SEPTEMBER 16  | You’re sick and have a disease. Or perhaps you are a caregiver for a partner, family member or cherished friend. Writing and sharing candidly about your grief in a safe and supportive environment will be personal, meaningful and cathartic. I welcome all to the group — the setting facilitates your ability to access memories and ideas and connect them to the page. We’ll be reading work from Oliver Sacks and Joan Didion and doing in-class writing​ exercises.

As a seriously ill patient as well as a caregiver for my mom, I channeled my grief into a book project and writing assignments (to help pay the bills and avoid my going crazy).

READ MORE

Stealing From the Greats: Crafting Stories from Existing Models (with Lindsey Crittenden)


Lindsey Crittenden

Lindsey Crittenden

 

 

SATURDAY & SUNDAY, SEPTEMBER 16 & 17, and SATURDAY, SEPTEMBER 23  |  “Good artists borrow, great artists steal.”

This three-day course explores the implications of this statement (attributed to Pablo Picasso) for anyone interested in fiction writing. (And no, we’re not talking about plagiarism or advocating criminal activity.) As writers, we are shaped by what we read. We are also influenced by what literary critic Harold Bloom called “the anxiety of influence” — the sure knowledge that someone, somewhere, has said it before and probably better. So how can we step aside from the anxiety of all those masterful stories we love (or envy) and have fun with outside models?

READ MORE

Vivid Scenes: Getting Your Memoir Underway (with Laura Fraser)


Laura Fraser

 

 

 

TUESDAYS, SEPTEMBER 19—OCTOBER 17  | You have a story to tell about your life, but you don’t know where to begin. The tendency is to start at the beginning and plod along, but that rarely makes for a compelling read. Writing guru William Zinsser suggested starting the process by writing vivid scenes, the moments that have the most emotion, and then slowly letting the memoir take shape in theme and structure. In this class, we will work on those beginning scenes, and over time, see where your memoir is going.

.

Laura Fraser is the author of the New York Times bestselling memoir An Italian Affair, and All Over the Map.

READ MORE

The Writer in You: An Introductory Sampler


Start where you are.

 

 

 

WEDNESDAYS, SEPTEMBER 20—OCTOBER 25  |  Looking to get serious about writing, but not sure where to start? Have a great story to tell, and wondering what form it should take – fiction or memoir, poem or news feature? This six-week course introduces the demands and opportunities of various elements of creative writing and journalism as well as the myriad ways one genre can inform another.

We will explore fiction writing, memoir, poetry, news writing, feature writing, and personal essays. Class sessions will be led by experienced writers with extensive and varied backgrounds in professional writing.  Each week will feature discussion, focused readings, and writing exercises in a supportive and encouraging environment.

READ MORE

The Interviewer’s Art: from Questions to Stories (with Yukari Kane)


Yukari Iwatani Kane

 

 

 

TUESDAYS, SEPTEMBER 26—OCTOBER 24 | Whether you’re a journalist, non-fiction writer or a novelist, the interview is one of the most important reporting tools for a writer to obtain information, understand perspectives beyond your own and add dynamism and authenticity to your articles and stories.

In this class, Yukari Kane will share her strategies and tips for getting even the most recalcitrant interviewees to open up. You will hone your interview skills as she takes you through each step in the process from asking and prepping for an interview to conducting the interview and following up.

READ MORE

Breakthrough Approaches to Revision (with Thaisa Frank)


Thaisa Frank

 

 

 

WEDNESDAYS, SEPTEMBER 27—NOVEMBER 11  |  Have you ever come back from a workshop with so many ideas you don’t know how to think about your story? Work and re-worked a character that didn’t belong in the first place? This is often because we often draw heavily from the contents of the first draft without having the concepts that give us distance.

This course gives you the concepts that will help you think about the structure and stages of your drafts. Among them: (1) The difference between plot and narrative arc; (2) When to break or keep unities of time, place and action; (3) Pacing: how to connect the dots and use the dark horse of time; (4) When to use a scene or exposition; (5) Subtext and the use of imagery; (6) Getting a feel of where something is missing; (7) Returning to original voice in revision.

READ MORE

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


Xandra Castleton

 

 

 

SATURDAY, SEPTEMBER 30  |  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”?

READ MORE

How to (Profoundly) Move Your Readers: The Craft of Developing Dramatic Emotions (with Junse Kim)


Junse Kim

 

 

 

SUNDAYS, OCTOBER 1—29  | One of the most difficult narrative issues in fiction writing is how to emotionally move your readers. Often, what we writers render on the page are concepts of drama meant to profoundly affect the reader, but it does not. In this five-week process class we will dissect the intricate concepts of how emotions are developed in fiction, and master how to recognize and apply narrative craft that develop dramatic emotions in ways that can move our readers. These skills will be developed through in-class writing exercises and assignments, focusing on interior monologue, characters’ perceptions, creating motivations, and more.

READ MORE