Our multi-week and half-day classes for winter and spring 2014 are now listed! Take a look at our membership options for discounts on all classes and other perks.
Instructor: Angela Palm | Type: Prose, Half-day
Saturday, March 8 | 10 a.m. – 1 p.m.
This class examines treatments of place in canonical works by Virginia Woolf and Thomas Hardy as well as those by contemporary writers, including Amanda Coplin, Mary Miller, Matt Bell, and Jo Ann Beard. We'll look at how mood, tone, theme, and meaning can be extrapolated from place description alone. Then, we'll work on conveying these elements in our own prose places, introduce characters into places we've created on the page, and look at how language, images, pacing, and overall treatment of place can help us more adroitly arrive at our intentions. Participants may bring a few paragraphs from works in progress in which place is forefront. We'll work on strengthening image, language, and meaning as it relates to place.
Creative nonfiction writers: commit to a weekend of writing, workshopping, and learning new approaches to the craft alongside other dedicated writers. The Renegade Writers' Collective is offering a two-day intensive for new and experienced nonfiction writers to learn and practice some of the new forms of the modern essay. This is an opportunity to set aside one weekend to reinvigorate, refocus, and re-imagine your writing! Writers will meet from 10 a.m. – 4 p.m. on both days to learn about the craft through the study of successful published examples, discuss techniques, practice the forms through guided exercises, and receive feedback on your work. Store your lunch in our refrigerator or grab lunch at one of the many nearby restaurants during break. Sign up for one day only or both!
Saturday, March 15, 2014 | 10 a.m. – 4 p.m.
The Lyric and Braided Essay taught by Jessica Hendry Nelson
Sunday, March 16, 2014 | 10 a.m. – 4 p.m.
Flash Nonfiction taught by Jericho Parms
Instructor: Rachel Daley | Type: Poetry, Half-day
Sunday, April 6 | 10 a.m. – 1 p.m.
Your poem doesn't belong just anywhere, and writers waste a lot of time and energy sending work out blindly. In this class, we'll read and review each others' finished poems to get a feeling for their style, direction, sentiment, and/or intent. After getting a fairly in-depth sense of each poem, we'll then brainstorm, using resources at our disposal (each other, hard copies of popular and not-so-popular magazines and journals, the internet) to generate some real possibilities for where to send out poems. We will investigate the qualitative differences between various poetry publications, who publishes in them, and how to most effectively devote time and energy to the task of placing poems. We'll also talk briefly about how to approach journal and magazine editors in a sincere yet succinct way.
Instructor: Janice Obuchowski | Type: Fiction (Beginner/Intermediate), 8/9 weeks
Runs Apr 6, 13, (no class 4/20 - Easter, assigned reading only), 27 and May 4, 11, 18 (no class 5/25 - Memorial Day weekend) and June 1, 8 | Sundays 2 - 4 p.m.
This class is for writers who wish to dedicate themselves to the study and craft of short story writing. Students have the opportunity to workshop their work and continue with revisions. The aim is to get your feet wet writing stories, but also to help you read with an eye to how fictional narratives work. We'll examine what writers are up to--by way of point of view, narrative distances, tension, pacing, characterization, dialogue, setting, plot, use of scene and summary, sentence rhythm, etc. This is your tool bag as writers. In order to figure out how your tools work, we will pay close attention to how others have employed them, and to what effect.
Instructor: Ellie Bryant | Type: Prose, Half-day
Saturday, May 24 | 10 a.m. – 1 p.m.
We live in an age of images. Most of us would rather have “Face Time” on our smart phones and iPads than speak to a disembodied voice on the telephone. We like to see pictures and videos of our friends on Facebook. I’m a fan of Pinterest, which presents images of favorite books, artists, and styles. We’re used to visuals and less patient for the abstract. In our creative writing, all too often what’s missing is a scene that triggers visuals in the reader’s imagination. Like a Hollywood film, a dramatic scene has set, location, details, action, characters, and dialogue. Whether you write fiction, memoir, or literary journalism, scenes have more impact than expositions or summaries. Scenes give the reader a private vision with a strong voice that carries an underlying honesty. This class will look at examples of effective scenes in the writing of James Agee, John McPhee and others and will offer techniques for crafting scenes in your own work. Participants should be prepared to put pen to paper.
Instructor: Neil Shepard | Type: Poetry, 6 weeks
June 3, 10, 17, 24 and July 1, 8 | Tuesdays, 6:30 – 8:30 p.m.
From first draft to final draft, we require strategies for seeing the whole poem, both its full potential for content and its most satisfying form. We require, as Charles Olson said, the intense perception of the first draft – to “see” not only the spark but all of the light that makes a poem glow. Then we need to “re-see” the poem, practicing the kind of deep revision that leads us to reconsider everything from word choice and vivid image to metaphoric subtext, grammatical pattern, and inner music of the poem. We’ll use poems from literary magazines to examine specific technical issues, but we’ll use your own poems as the focus and force of workshop discussion. In addition, we’ll consider writing exercises that might steer you toward new strategies and discoveries in making a poem.