In this class, we’ll work on engaging with a character’s thoughts and feelings in ways that move beyond these cliches, using specificity and deepening character. This will be a generative workshop. Using your own characters and their harrowing situations, we’ll look at, discuss and practice Rebecca Makkai’s four techniques to writing interiority: Action, Thought, Specific Physical Interiority and Tangential Thought.
In this class, we’ll study some of the best flash fictions around, from Amy Hempel to Venita Blackburn. We’ll write one to two flash fiction pieces each week and share our work for feedback in small groups.
In this highly interactive four-day workshop, we’ll reactivate (and even befriend) our inner editors. We’ll examine other writers’ early drafts, try our hand at editing those, and compare our efforts to final, published versions. Instead of worrying where to put commas, we’ll explore where our characters are, what they’re saying and doing, and why.
In this highly interactive four-day workshop, we’ll reactivate (and even befriend) our inner editors. We’ll examine other writers’ early drafts, try our hand at editing those, and compare our efforts to final, published versions. Instead of worrying where to put commas, we’ll explore where our characters are, what they’re saying and doing, and why.
In this class, we’ll study some of the best flash fictions around, from Amy Hempel to Venita Blackburn. We’ll write one to two flash fiction pieces each week and share our work for feedback in small groups.
In this highly interactive four-day workshop, we’ll reactivate (and even befriend) our inner editors. We’ll examine other writers’ early drafts, try our hand at editing those, and compare our efforts to final, published versions. Instead of worrying where to put commas, we’ll explore where our characters are, what they’re saying and doing, and why.
In this highly interactive four-day workshop, we’ll reactivate (and even befriend) our inner editors. We’ll examine other writers’ early drafts, try our hand at editing those, and compare our efforts to final, published versions. Instead of worrying where to put commas, we’ll explore where our characters are, what they’re saying and doing, and why.