Creative Nonfiction, Ana Maria Spagna
Nonfiction, as a category of literature, has been compared to “non-socks” as a category of clothing. In other words, nonfiction includes a wide range of forms all of which have the same goal: making connections. In this workshop, we’ll explore techniques for making connections in essays, memoirs, narrative nonfiction, and nature and/or travel writing. We’ll examine issues like persona, blending “now” and “then” perspectives, interrogating memory, making scientific information accessible, and honoring real-life characters. Participants will get the chance to submit both drafts and revisions for review, read and discuss short samples of published work, respond to a variety of writing prompts, and offer critique to others. Together we’ll find ways to craft personal experience and research into stories that readers will find compelling.
Fiction, Matt Burgess
This workshop will be descriptive rather than prescriptive. You will not have a group of people telling you how to rewrite your story. Instead, we will describe how your story is working—focusing on basic elements of narrative craft such as plot structures, characterization, and point-of-view—so that you can make your own best decisions on how to revise. We will also conduct short, in-class writing exercises designed to stretch your creative muscles, make you more comfortable with experimentation, and serve as raw material for future stories.
Poetry, Elizabeth Arnold
The workshop will focus on student poems with a steely concentration on the words on the page. Reference to poems of past and present masters will be made as relevant.
Fiction, Patricia Henley
My teaching philosophy is “find the spark and fan it.” I enjoy helping a writer excavate the true subject matter that sometimes lies buried in a story. I look for ways to deepen character. A writer’s sense of place interests me. If appropriate to the writer and the story, we look for ways to tease more story – plot, characterization, tension – from the geographic location. In my line edits, I aim to be thorough, marking questionable word choices, grammar and mechanical errors, and suggesting alternative sentence structures. I want my workshop participants to walk away excited to revise.
To Be Determined.
To Be Determined.