writing classes - Hugo House · 2018-03-01 · INTRODUCTION TO SCRIVENER with Anna Vodicka Introductory ... thor of Love Water Memory Six sessions General: $100 | Member: $99 ONLINE

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Spr ing 2018

hugohouse.org

writingclasses

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hugohouse.org

206-322-7030

DATES OF REGISTR ATION

All registration begins at 10:30 a.m.

Feb. 19 Scholarship applications open

Mar. 5 $500+ donor registration

Early bird pricing in effect

Mar. 6 Member registration

Mar. 13 General registration

Mar. 16 Scholarship applications due

Mar. 19 Early bird pricing ends

Mar. 26 Scholarship applicants notified

VISITING WRITERS . . . . . . . . . . . . . . . . . . . . . . . . .

THE WRITING LIFE . . . . . . . . . . . . . . . . . . . . . . . . .

FIC TION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

MULTIGENRE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

NONFIC TION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

POE TRY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

ABOUT OUR TE ACHERS . . . . . . . . . . . . . . . . .

ABOUT OUR CL A SSES . . . . . . . . . . . . . . . . . . . .

HOW TO REGISTER

TABLE OF CONTENTS

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C ATALOG KEY

Onl ine c l a s s

E ARLY BIRD REGISTR ATION

Register early to save! Early bird pricing runs March 5 through March 19.

• $10 off one-session classes• $20 off classes that are two to six sessions• $35 off classes that are eight sessions or more

*Early bird pricing is automatically applied at checkout when registering online.

MEMBERSHIPDo more at Hugo House while supporting the literary arts!

As a member, you’ll help us provide classes and events that connect writers and readers to the craft of writing. You’ll also receive great benefits, including early registration and discounts on classes and events! Join at hugohouse.org.

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VISITING WRITERSTO MAKE A HUMAN THING with Ada Limón

All Levels | With a constant focus on balance—the light and the dark, the real and the artful, the lyric and the narrative—we’ll explore how to make poems go deeper, get messier, get sharper, and feel more real and complete. We’ll read numerous con-temporary poems that will help inspire and guide us in our own work. With rigorous in-class writing exercises and deep readings, we’ll try to break open something new while breathing life into older work. You’ll need a notebook or laptop, a willingness to experiment, and an open mind.

One sessionSunday, April 1510 am–1 pmGeneral: $155 | Member:$139.50

POETRY

Word Works: Writers on WritingAda Limón on Poetry as Elegy

The art of the elegy has long been an obsession of poets, but why is it that poetry seems to be the right art form for the exploration of vanishing? In her craft talk, “Grief and Release: Poetry as Elegy,” Limón will explore how poetry can excavate loss without being emotionally manipulative.

April 14 | 7 pm at The Frye Art MuseumTickets ($6–$15) at hugohouse.org

PATIENCE AND PACING with Tarfia Faizullah

All Levels | A.A. Milne wrote, “Rivers know this: there is no hurry. We shall get there some day.” In a world that seems to be moving faster and faster, it can be tempting to want our poems to write themselves as quickly. In this workshop, we’ll discuss pa-tience as worldview, process, and tool; read and discuss poems that model the value of patience and pacing; as well as generate some drafts of our own.

One sessionSaturday, May 121–4 pmGeneral: $110 | Member: $99

POETRY

Hugo Literary Series: New Work on ThemesLidia Yuknavitch, Tarfia Faizullah, and Ijeoma Oluo | "There Goes the Neighborhood"

Acclaimed writer Lidia Yuknavitch, award-winning poet Tarfia Faizullah, and the incomparable Ijeoma Oluo cap off the 2017-18 Hugo Literary Series season with new work on the theme "There Goes the Neighborhood" to celebrate Hugo House's move back to Capitol Hill.

May 11 | 7:30 pm, venue tbdTickets ($12–$25) at hugohouse.org

INTENSIVE WORK SHOP with Lidia Yuknavitch

All Levels | The class topic and description were not available at press time. Please visit hugohouse.org or call us at (206) 322-7030 for more information.

Two sessionsSaturday & Sunday, May 12–131–5 pm

MULTIGENRE

All Levels | Writing from and about underrepresented people and communities is some of the most important writing coming out today. This workshop is for socially conscious writers who are ready to kill their darlings. Unsafe Spaces refers to both: a workshop space that does not shy away from meaningful, honest, and sometimes diffi-cult critique; and a workshop that also simultaneously encourages writing on intense, complex, or socially relevant subject matter.

Four sessionsThursdays, May 24–June 147:10–9:10 pmGeneral: $235 | Member: $211.50

MULTIGENRE

UNSAFE SPACES with Chavisa Woods

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THE WRITING LIFE

Introductory | Writers swear by it. Macworld calls it “the biggest software tool for writers since the word processor.” No matter your genre, Scrivener can streamline writing at every stage—but it can also be intimidating. In this seminar, we’ll cover Scrivener basics, discuss customization according to your project needs, and learn helpful tools and tips. Participants should bring a laptop with the latest version of Scrivener downloaded, and will receive a 20% discount on Scrivener software after registering. Basic computer proficiency required.

One sessionSaturday, April 281–4 pmGeneral: $89 | Member: $80.10

INTRODUC TION TO SCRIVENER with Anna Vodicka

Introductory | We will discuss strategies for transitioning from a secret hobbyist writer to a “professional writer.” Class participants will get the inside scoop on how to submit work to literary magazines, small presses and contests, create writing bio’s and CV’s, as well as develop solid writing practices that will support, inspire, and affirm. The class will also include a daily writing prompt and examples from some of our favorite professional writers.

Four sessionsTuesdays, May 22–June 127:10–9:10 pmGeneral: $235 | Member: $211.50

HOW TO COME OUT A S A WRITER with Anastacia-Renee

Introductory/Intermediate | Submitting creative work to literary journals is a great way to join a larger conversation of writers and readers. This course covers meth-ods for submitting work, both for those starting out and those hoping to renew their process. Arrive with a complete story, essay, or poems in mind. By the end of class, come away with several submission ideas.

One sessionSaturday, June 21–4 pmGeneral: $89 | Member: $80.10

FINDING A HOME FOR YOUR WORK with Gail Folkins

Introductory | Many people come to writing after careers in other fields or lifetimes of non-writing-related experience. This class is designed to help you understand the commitment necessary to become a successful writer, and navigate the very different culture and work ethic of this new pursuit. Class topics include becoming part of the writing community, understanding industry standards, and learning the needs and procedures of the publishing market.

Two sessionsSaturday & Sunday, April 21–221–4 pmGeneral: $172 | Member: $154.80

WRITING A S THE NE X T C AREER with Joe Ponepinto

All Levels | This daylong intensive seminar will provide a comprehensive overview of the publishing business and opportunities for writers of memoir, adult fiction, and young adult. This class is intended for students who already have some familiarity with the publishing business (you already know the difference between agents and publicists and acquisition editors, you know what the word "platform" means, etc.).

One sessionSaturday, May 1210 am–5 pmGeneral: $210 | Member: $189

Information on location andspecial guests at hugohouse.org

PUBLISHING INTENSIVE with Karen Finneyfrock, Peter Mountford, and Theo Nestor

Introductory | This six-week e-course includes a 100-page course workbook, audio interviews with writers, templates for writerly processes, 100 book-

marks to helpful sites for writers, 100 flashcards, 100 writing prompts, and more."An incredible resource for writers, especially those coming up to speed in the com-petitive and ever-changing business climate of publishing." –Jennie Shortridge, au-thor of Love Water Memory

Six sessionsGeneral: $100 | Member: $99

ONLINE

WRITER ' S WELCOME KIT

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FICTION

General

All Levels | Many stories and novels read as if we’re talking heads or disembodied voices floating in a vague, nondescript space. To create a vivid world on the page with complex characters interacting in a specific environment, you need to bring the phys-ical dimension alive. Learn and practice six techniques to flesh out narratives, build tension, and create propulsion: bodily appearance, gesture, spatial relationships be-tween characters, sex, objects, and the natural-social-economic-political environment.

Six sessionsMondays, April 9–May 147:10–9:10 pmGeneral: $295 | Member: $265.50

LE T ' S GE T PHYSIC AL with Mary Potter

Whether you’re looking to write stories or a novel, this course will introduce three key elements of fiction: character, plot, and landscape. Alongside published examples and writing prompts in and out of class, you will write a short story and learn the basics of the workshop model.

Six sessionsSaturdays, May 5–June 16[No class May 26]10 am–12 pmGeneral: $295 | Member: $265.50

FIC TION I with Cara Diaconoff

This course takes place online through our partners at Wet Ink, and classes can be done at your own pace throughout the week.

This class will build upon craft learned in Fiction I and II. Students can expect advanced readings, regular workshops, and feedback from their classmates and in-structor.

Ten sessionsApril 10–June 12General: $460 | Member: $414

ONLINE

FIC TION II I ONLINE with Peter Mountford

This class will build upon craft learned in Fiction I and II. Students can expect ad-vanced readings, regular workshops, and feedback from their classmates and instruc-tor. We’ll look at each other’s drafts with an eye to properly balance the elements of story, such as plot, character, voice, and pacing, into a well-structured, thematically resonant whole that keeps the reader turning the pages. As time allows, we’ll also ex-amine published work that inspires and instructs.

Ten sessionsMondays, April 9–June 18[No class May 28]5–7 pmGeneral: $460 | Member: $414

FIC TION II I with Anca Szilágyi

Feel confident while progressing through your writing in our tiered workshops, designed to equip you with the appropri-ate tools, skills, and an understanding of the diverse voices at work in each genre. You may self-select into classes based on where you feel comfortable, and you are welcome to take classes as many times as you would like.

All Levels | We will discuss the troubles, problems, and pitfalls of creating characters in fiction. Students will learn how to craft effective protagonists, antagonists, and secondary and minor characters. Other topics will include charac-ter-driven stories, plot-driven stories; making likable bad guys; the anti-hero, and alien creature characters in Sci-fi and Fantasy. Each student will fashion their own set of characters, incorporating them into a finished story.

Six sessionsSundays, April 15–May 2010 am–12 pmGeneral: $295 | Member: $265.50

CRE ATING STRONG , EFFEC TIVE CHAR AC TER S IN FIC TION with BJ Neblett

All Levels | Get that full-length fiction outline into shape! Over the course of six weeks, we will work together to define the major building blocks of the story you were meant to tell. Workshop your plot, characters, metaphor, setting, conflict, and resolution one-on-one and as a group. Leave this boot camp with a clear vision and achievable plan for completing your next novel.

Six sessionsTuesdays, April 10–May 157:10–9:10 pmGeneral: $295 | Member: $265.50

NOVEL OUTLINE BOOT C AMP with Jarret Middleton

The Novel

General

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FICTION

Short Stories

All Levels | This workshop will focus on stories under 1,000 words, and discussion will favor objective analysis and interpretation over criticism. Depending on class size, each student will submit 1-2 flash fictions for discussion. We will also bring in our own examples of flash fiction that inspires us, with the goal of giving students a variety of tools with which to navigate the short-short form.

Six sessionsThursdays, May 3–June 75–7 pmGeneral: $295 | Member: $265.50

FL A SH FIC TION WORK SHOP with John Englehardt

All Levels | This class will focus on short stories that slightly shift reality in order to magnify our awareness of social constructs and the human condition. How do we create and write within these alternate realities? In addition to studying examples from George Saunders, Zadie Smith, Kevin Brockmeier, Karen Russell, and Ursula K Le Guin, we’ll also undertake in-class writing exercises that will help us explore the uncanny and the Kafkaesque.

Two sessionsSaturday & Sunday, May 19–201–4 pmGeneral: $172 | Member: $154.80

ALTERNATE RE ALITIES IN SHORT FIC TION with John Englehardt

All Levels | The first sentence, first paragraph, first scene of our stories serves as a springboard for the full work. Often, any problem with our endings can be traced back to our beginning. Rather than meekly setting the scene, why not plunge full-on into a story’s richest conflict, in all its complexity? In this class, we’ll look at the beginnings of several short stories, engage in low-pressure writing exercises, and leave class with at least three beginnings for new works.

One sessionSaturday, June 91–4 pmGeneral: $89 | Member: $80.10

BOLD BEGINNINGS with Alex Madison

Young Adult

All Levels | Achieve more with your fictional settings. Transitional places such as alleys, seashores, and graveyards are known as liminal spaces. Such spaces and times (such as midnight) evoke deeply ingrained emotional responses in readers, and that’s particularly true for young readers who are in a time of transition themselves. We’ll explore how to create compelling settings and use them more effectively to increase suspense, help young readers identify with your characters, and make your narrative arc more convincing.

Four sessionsTuesdays, May 22–June 125–7 pmGeneral: $235 | Member: $211.50

CRE ATING EFFEC TIVE SE T TINGS IN YOUNG ADULT AND MIDDLE GR ADE with Joni Sensel

The Novel

Intermediate | For writers who have already completed a rough draft or a substan-tial chunk of a novel. We’ll begin with an overview, examining themes and exploring structure, then focus on the dynamics of each scene or chapter, the shape of each paragraph, and the efficacy of each sentence. Along the way, we’ll discuss publication strategies and learn from the experience of a previous student whose novel is forth-coming from William Morrow. The goal: leave class with a clear plan for completion.


DEEP RE VISION with Waverly Fitzgerald

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MULTIGENREGraphic Forms

All Levels | A personal story gains added visceral power when told in comics form. Two experienced graphic novelists will guide you through the process of creating several short comics, leading up to a finished autobiographical story. We’ll look at examples from masters of comics and cartoons while exploring different aspects of the medium through a variety of exercises and assignments. Note: Drawing ability is not as important as the desire to communicate your ideas clearly.

Six sessionsSaturdays, April 14–May 1910 am–12 pmGeneral: $295 | Member: $265.50

GR APHIC NOVEL MEMOIR with David Lasky & Greg Stump

Prose

All Levels | Scenes are the fundamental building blocks of creative writing, wheth-er you’re working on a memoir, short story, novel, or blog post. Learn the craft fundamentals that go into rendering captivating scenes that engage readers, push a narrative forward, and bring characters to life. We will dissect and analyze how great writers build a scene and work on fun and intellectually engaging exercises to help you hone your own scene-writing skills.

Four sessionsMondays, April 9–305–7 pmGeneral: $235 | Member: $211.50

SCENES with Laurel Saville

Eight sessionsApril 8–May 27General: $375 | Member: $337.50

ONLINE

THE OTHER S: A SURVE Y OF QUEER WRITER S AND WRITER S OF COLOR with Wancy Cho

All Levels | How has being othered affected your life, your thoughts, your words? This class is dedicated to the lives and issues of queer writers

and/or writers of color, past and present, working in prose—from fiction to essays to graphic novels. We will discuss how the writer’s queerness and/or race affected their writing, their lives, publication, and acknowledgment. What themes arise amongst these writers? Additionally, we’ll spend a portion of class critiquing your own work through a weekly workshop. This course takes place online through our partners at Wet Ink, and classes can be done at your own pace throughout the week.

Eight sessionsTuesdays, April 10–May 297:10–9:10 pmGeneral: $375 | Member: $337.50

A FIELD RESE ARCHER ' S GUIDE TO AUTHORITATIVE STORY TELLING with Kristen Millares Young

All Levels | We will infuse narrative with lyric accuracy through careful study of the world. We’ll read Didion, Anzaldúa, Yamashita, Solnit, Washuta, Lebo, Alexander, Lorde, Biss, Grover, and Winterson. Guided by timed prompts based on their finest works, we will produce new writing during generative in-class workshops. Remember: research buoys a story like water carrying a boat. Keep it moving to stay afloat.

Six sessionsTuesdays, April 10–May 155–7 pmGeneral: $295 | Member: $265.50

SHAPES OF STORIES with Waverly Fitzgerald

Introductory/Intermediate | The shape of a story is more than just the way it is told—changing the shape changes the story. We’ll explore popular shapes for sto-ries —including braids, collage, the traditional narrative arc, the circle, and the frame —through in-class writing exercises, homework assignments, and reading examples from creative nonfiction and fiction. A writer could end this class with five different versions of the same initial story or five different stories.

Eight sessionsTuesdays, April 10–May 297:10–9:10 pmGeneral: $375 | Member: $337.50

SCREENWRITING FOR FIC TION WRITER S with Michael Shilling

All Levels | In this class, we’ll examine the building blocks of the screenwriter’s art via a wide variety of fine films. In addition, students will have the opportunity to workshop the first five pages of their own screenplays.

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MULTIGENREProse

Eight sessionsMondays, April 16–June 11[No class May 28]5–7 pmGeneral: $375 | Member: $337.50

WRITING WOMEN ' S LIVES with Susan Meyers

Introductory/Intermediate | What’s your story—as a daughter, mother, lover, sister, wife, or single woman? Although these experiences are important, women have not always had the means to tell their stories. Whether silenced, shamed, or overlooked, women writers throughout history have sought creative ways to get their stories heard. Come learn about these challenging and empowering histories and develop your own unique voice through writing exercises aimed to help you explore your own life story—and how you want to tell it.

Two sessionsThursdays, April 19 & 266–9 pmGeneral: $172 | Member: $154.80

E XERCISES IN EMPATHY with Ruth Joffre

All Levels | It’s often said that reading makes us better people by increasing our em-pathy. But the reverse is also true: increased empathy makes us better readers and, as a result, better writers. In this class, we’ll learn how to exercise our empathy through readings, discussions, and writing exercises. Readings will include excerpts from work by Leslie Jamison, Alice Munro, and others.


STORY STARTER with Susan Meyers

Introductory/Intermediate | Getting started can be the hardest part. Whether you want to write your life story or create a fantasy realm for a novel, you likely have great ideas—but may not know how to begin. This class offers exercises to help you generate “starts” to your stories, as well as craft discussions about how to launch stories and keep them going. We’ll discuss published samples, and you’ll leave with ample written work—and a plan for where to go next.

All Levels | A journalist once asked George Mallory, “Why do you climb?” He responded, “Because it’s there.” Many writers, too, have sought to explain why they climb, paddle, hike, ski, and engage in challenging and sometimes risky outdoor adventures. This class will address this question by demonstration, showing how to bring readers along the ride using in medias res openings, dramatic scenes, and other techniques to recreate the thrill of encountering the wild heart of the natural world.

One sessionSunday, April 221–4 pmGeneral: $89 | Member: $80.10

NATURE AND ADVENTURE WRITING with Nicholas O'Connell

One sessionSunday, April 291–4 pmGeneral: $89 | Member: $80.10

SPRING CLE AN YOUR MANUSCRIP T with Diana Xin

All Levels | Using your words as the raw material, we will apply a Marie Kondo method to reorganize and declutter your writing. Learn practical editing and revision strategies that maintain the creative spark and capture joy on the page. Bring 3-5 pages of work to class.

Six sessionsThursdays, April 12–May 177:10–9:10 pmGeneral: $295 | Member: $265.50

COMEDY WRITING WORK SHOP with Brett Hamil

All Levels | Write funny things that make people laugh! In this course, students will explore the essentials of comedy writing. Learn techniques for brainstorming, pitch-ing ideas and fleshing out a premise. Experiment with genre and narrative voice. Write your own short comedy pieces weekly—fake news articles, essays, vignettes—then workshop them with the class. With individualized attention and group feedback, this class gives students the tools to access their unique comedic voice.

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Six sessionsMondays, May 7–June 18[No class May 28]7:10–9:10 pmGeneral: $295 | Member: $265.50

WRITING LIFE with Charles Mudede

All Levels | Life is truly bizarre, and the more familiar we are with this bizarreness, the richer our writing will be. This class will look at the ways scientists have written about the origin and characteristics of life itself. We will access and produce short works based on some of the deepest and most fascinating thoughts about the intercon-nected system of things that move, dream, make decisions, and reproduce on a thin layer of this rocky planet.

Prose & Poetry

Six sessionsMondays, April 9–May 21[No class May 7]7:10–9:10 pmGeneral: $295 | Member: $265.50

ACCESSING HINDUISM IN YOUR WRITING with Shankar Narayan

All Levels | Hinduism is more a way of being, a set of practices, an ethos, and a mythology than a religion. In this workshop, we’ll walk through some of Hinduism’s seminal concepts as well as excerpts from key texts. We’ll discuss how those concepts might be applied to a writing practice and do deep reads of poems in which South Asian writers in America have created their own interpretations of the Hindu cosmol-ogy. Throughout, we’ll put these concepts into practice by writing.

Six sessionsWednesdays, April 11–May 165–7 pmGeneral: $295 | Member: $265.50

WRITING WITH BISHOP IN BR A ZIL with Carolyne Wright

All Levels | Elizabeth Bishop was the consummate poet of travel, writing and trans-lating for fifteen years in Brazil. Her “traveler takes a notebook, writes” about the mysteries of maps, the wonders of cultures, and landscapes. “Should we have stayed at home and thought of here?” she asks. In response, we will read her poems, notebook entries, and letters from Brazil and elsewhere, and some of her translations from Por-tuguese, and write about our own real and imagined places at home and away.

Eight sessionsWednesdays, April 11–May 305–7 pmGeneral: $375 | Member: $337.50

WRITING FOR PROCR A STINATOR S with Beth Slattery

All Levels | If you consider yourself a writer, proclaim to love writing, but find a mil-lion things to do before “letting” yourself write, this course is for you. Weekly writing and reading assignments and instructor feedback will explore why we procrastinate and how to break those patterns. By course end, students will have established a writ-ing practice and navigated the murky waters of their own procrastination. In addition, students will leave with a draft of a short project previously avoided.

Six sessionsSaturdays, April 14–May 1910 am–12 pmGeneral: $295 | Member: $265.50

CRE ATURES OF THE SE A : CRE ATIVE WRITING THE MARINE with Sierra Nelson & ilvs strauss

All Levels | How can a plot twist like a herring ball? How can characters sing like a pod of orcas? How can an image bioluminesce? This class expands our writing by bor-rowing synesthetic possibilities from marine creatures, providing eclectic generative prompts using poetic, scientific, and movement sources to spawn creative processes. Most writing happens in class with some observation homework, culminating in a portfolio of new drafts and an expanded toolbox. No previous marine or creative writing knowledge required.

Six sessionsSundays, April 15–May 201–3 pmGeneral: $295 | Member: $265.50

IN DIALOGUE WITH THE BODY with Wryly McCutchen

All Levels | A generative writing workshop centered on getting in touch with our bodies and the stories and atmospheres our various parts and wholes have the power to conjure. This class will use somatic awareness practices as prompts to deepen the connections between our physical selves and our writing practices. Readings will also center on the body, offering varied examples of unique entry points into the body as a site of revelation, reclamation, and self-knowledge.

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MULTIGENREProse & Poetry

NONFICTION

This class will help you decide the best way to tell the nonfiction story you want to tell. We will figure out the true topic of our pieces and how to most effectively explore those topics through points of view, scene, reflection, and form. Using gener-ative writing, reading, and an introduction to the workshop model, we will begin to investigate our own personal stories. Students will generate 15-20 pages to share in workshop and will receive extensive instructor feedback.

Six sessionsWednesdays, April 11–May 1610 am–12 pmGeneral: $295 | Member: $265.50

CRE ATIVE NONFIC TION I with Beth Slattery


This class will build upon craft learned in Creative Nonfiction I and II with a spe-cial focus on structure and shifts in time. We will investigate both traditional and non-traditional formats and “true” storytelling. Students will read intensively and can expect weekly prompts and exercises, as well as weekly workshops with signifi-cant instructor feedback. Students will be required to submit one essay to the class for critique.


ONLINE

CRE ATIVE NONFIC TION II I ONLINE with Nicole Hardy

Together we will explore a wide range of essay and memoir forms, including Hermit Crab, research-based, braided, fragmented, and lyrical works. We will ask: what top-ics have you been avoiding, and how can experimentation help you access your most essential material? We will write and share from in-class prompts, discuss readings, and workshop drafts with our peers. We will push ourselves to look both inward and outward, to revise our work, and to hold ourselves accountable to our goals.

Ten sessionsMondays, April 16–June 25[No class May 28]7:10–9:10 pmGeneral: $460 | Member: $414

CRE ATIVE NONFIC TION II I with Anne Liu Kellor

Four sessionsSundays, May 13–June 10[No class May 27]10 am–12 pmGeneral: $235 | Member: $211.50

R ADIC AL RE VISIONS WORK SHOP with Sierra Nelson

Intermediate | Do you have notebooks filled with rough drafts but aren’t sure what to do next? Are you looking for fresh and even radical ways to approach revision as a creative process in itself? Bring in previously written drafts of poetry or short prose, and/or use in-class warm-up writing as raw material, and get ready to experiment. By the end you’ll have an expanded revision toolbox and a portfolio of newly invigorated pieces. Optional one-on-one conference at end.

Introductory | Reginald McKnight proposes a story told by a particular person to a particular person—at a particular time, for a particular reason. In this workshop, we will generate a story that smuggles a secret from your life into a monologue spoken by an invented character. Call this form an “affinity,” where one character fiercely confides in another. We will inventory deep memories, develop a character based on a “familiar stranger,” and draft a monologue in prose or poetry.

One sessionFriday, April 209 am–4 pmGeneral: $205 | Member: $184.50

WRITING AFFINITIES: THE IMPELLED SECOND -PER SON STORY with Kim Stafford


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General

One sessionSaturday, April 2810 am–4 pmGeneral: $172 | Member: $154.80

UNLE A SHING THE HE ALING POWER OF PER SONAL NARR ATIVE with Ingrid Ricks

All Levels | In this hands-on narrative-writing workshop, New York Times-bestsell-ing author Ingrid Ricks draws on lessons learned from writing her story and working one-on-one with more than a thousand students to help you unleash the power of personal narrative—and find healing along the way. You’ll learn how to identify and structure the personal story you need to tell and how to bring it to life through six different in-class writing assignments. Workshop includes individual ten-minute story structure sessions.

Three sessionsSundays, May 6–201–5 pmGeneral: $295 | Member: $265.50

RENE WAL : WRITING ABOUT CHANGE with Anne Liu Kellor

All Levels | Whether writing about seasons, bodies, relationships, beliefs, systems, or the world at large, together we will examine the theme of change from a kaleido-scope of angles. How have you changed? What is changing now? What change is yet to come? Prompts may come from words, questions, poems, music, meditation, and more. Participants will be encouraged to write freely without censoring, and to share if desired, in a spirit of playful, non-judgmental exploration.


TRUTH OR FIC TION?: WRITING LIFE STORIES with Susan Meyers

All Levels | Writing about real life can be tricky. You may not remember all the de-tails, or you may want to change information to protect people or make a story more interesting. But how much is okay to change? This class explores memoir and auto-biographical fiction to examine how “true” your life stories should be. We’ll consult writers like Patricia Hampl, David Sedaris, Tim O’Brien, and John D’Agata; and we’ll use writing exercises to help you begin your own personal writing project.

The Essay

Six sessionsTuesdays, April 10–May 155–7 pmGeneral: $295 | Member: $265.50

THE POLITIC AL ESSAY with Sonora Jha

All Levels | Craft that chapter in your memoir where the personal meets the politi-cal, that OpEd you have the authority to write, that biting political analysis, or that cultural critique for a literary journal. Learning from James Baldwin, Rebecca Solnit, Arundhati Roy, George Orwell, Mindy Kaling and others, we will generate essays that tap into your own rage or biting wit. Expect to leave with at least one strong essay and a pitch for an editor.

Six sessionsWednesdays, April 11–May 167:10–9:10 pmGeneral: $295 | Member: $265.50

THE LYRIC ESSAY with Jodie Noel Vinson

Introductory | The lyric essay exists in an undefined space between poetry and non-fiction. By breaking the rules of genre and experimenting with hybrid forms, students in this class can expect to breathe new life into stagnant essays, develop poetic lines into thoughtful arguments, and take their nonfiction to new creative places. In addi-tion to writing prompts and workshops, we’ll explore the genre through excerpts and essays from John D’Agata, Eula Biss, Sarah Manguso, and Claudia Rankine, among others.

Four sessionsThursdays, April 12–May 35–7 pmGeneral: $235 | Member: $211.50

THE EPISTOL ARY ESSAY with Anna Vodicka

All Levels | Dear Reader: You’ve heard the lament that “no one writes letters anymore.” But our very nostalgia for the form—and the collapse of the public/private divide—is fueling a resurgence in the Information Age. In this course, we’ll explore the ancient art of correspondence, and how structure, specific audience, and direct address can energize our writing. Prepare to read and write a range of epistles—from open letters to diaries, satire to hate mail, maybe even a love letter or two (sincerely).

NONFICTION

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NONFICTION

Memoir

All Levels | This is a popular class with proven results, aimed at those who want to write a memoir or have begun one and are stalled. Each week requires an essay of 300 words that is intended to provide important building blocks for memoir. These essays are read aloud and critiqued in class, as well as critiqued in writing by the instructor. Weekly assignments from two helpful guidebooks provide added memoir insights and how-to tips.

Six sessionsThursdays, April 12–May 177:10–9:10 pmGeneral: $295 | Member: $265.50

KICK-STARTING THE MEMOIR with John Marshall

Intermediate | Where, exactly, are you are telling your story from? Since literary memoirs are more circular than sequential, more intuitive than logical, time can trip us up. Reflection, however, (the memoirist’s magic wand) creates a vantage point—not only where you unpack emblematic episodes, but former versions of oneself. With Sven Birkerts’ The Art of Time in Memoir as a guide, we’ll write scenes from the “Now” and the “Then,” giving form and meaning to the past. Prepare to be surprised.

Two sessionsSaturday & Sunday, April 21–2210 am–4 pmGeneral: $295 | Member: $265.50

WRESTLING WITH TIME IN MEMOIR with Christine Hemp

All Levels | We’ll study effective scenes in memoir, dissect their essential elements, and note their role in the larger narrative. We’ll focus on when, where, why, and how to use scene most effectively and how to know which events should not be summa-rized. Students will begin to craft and/or revise scenes from their personal essays or memoirs-in-progress.


A S SCENE IN MEMOIR with Nicole Hardy

Introductory/Intermediate | This three-day class will be filled with lecture, dis-cussion, writing prompts, brainstorming activities designed to talk you into the heart of your work as a writer, and workshops of participants’ writing. Lecture/discussion topics will include: voice and vision, inviting the reader into the work, narrative arc, thematic drive, collage techniques, scene building, the publication process, and how to make the most of your writing time. There will be an hour-long lunch break each session.

Three sessionsFriday–Sunday, June 22–249 am–4 pmGeneral: $420 | Member: $378

MEMOIR WRITING INTENSIVE with Theo Nestor

Whether a beginning poet or lover of the art, this class will introduce you to the beau-ty and complexity of writing and reading poetry, as well as the basics of the workshop model. We will look to image, metaphor, sound, lineation, and structure to write our own poems.

POE TRY I with Jamaica BaldwinSix sessionsMondays, April 30–June 11[No class May 28]5–7pmGeneral: $295 | Member: $265.50

POETRY


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This class will build upon craft learned in Poetry I and II. Students can expect close readings of mentor texts from a wide range of contemporary poets, advanced forms and prompts, discussions of poetic techniques and workshops of participants’ poems. We will also explore craft issues, advanced generative techniques like poetic sequences and research, as well as different approaches to revision and publishing, all with an eye towards strengthening your poetic practice and building a strong body of work.


ONLINE

POE TRY II I ONLINE with Quenton Baker

This class will build upon craft learned in Poetry I and II. Students can expect close readings of poems from contemporary poets who represent a wide range of subject matter and aesthetics, and cultural diversity. We will workshop student poems; ex-plore advanced forms and techniques, such as poetic sequences and styles; and learn different approaches to revision. The goal of the workshop is to help you build a strong body of work, strengthen your poetic practice, and learn more about publish-ing your work.

Ten sessionsThursdays, April 12–June 147:10–9:10 pmGeneral: $460 | Member: $414

POE TRY II I with Emily Warn

General

Six sessionsSaturdays, April 14–May 191–3 pmGeneral: $295 | Member: $265.50

POE TRY AND THE NE WS with JM Miller

Intermediate/Advanced | “Despair is ... suffering on behalf of the world,” says Joanna Macy, and also “provides a context for action.” In this course, we will connect to personal and global despair, transforming them into poems that relieve isolation. We will read writings by activists such as Audre Lorde, June Jordan, Cherríe Moraga, Muriel Rukeyser, and Adrienne Rich. Students will explore the headlines and engage in collective conversations during each class. There will be weekly prompts and oppor-tunities to share your work to support engagement.

Ten sessionsSundays, April 8–June 17[No class May 27]10 am–12 pmGeneral: $460 | Member: $414

ADVANCED POE TRY WORK SHOP with David Wagoner

Advanced | The aim of this poetry workshop will be to help the students, regardless of age or previous experience, work toward writing the best poems they can write. The instructor will offer examples from poetry of the past and present and will ask the students to bring some examples from their own reading, but the main work will be critiquing each other’s poems. The instructor will try to help reinforce the connec-tions between sound, rhythm, and meaning and will make a number of suggestions about working methods, revision, and self-criticism.

Eight sessionsSaturdays, April 21–June 16[No class May 26]10 am–12 pmGeneral: $375 | Member: $337.50

HE ALING AND EMPOWERMENT THROUGH POE TRY with Sarah Thaller

Introductory/Intermediate | This course will explore how writers, particularly those who have been historically underrepresented, have used poetry for healing and rebuilding a sense of empowerment. After discussing the historical and theoretical background, we will create and workshop our own poetry in a safe, supportive, and encouraging environment. This course is open to all writers who are committed to expressing themselves honestly and openly and are dedicated to maintaining a sense of community within the classroom.

POETRY

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Two sessionsSaturday & Sunday, May 5–61–4 pmGeneral: $172 | Member: $154.80

THE ELEGY with Jane Wong

All Levels | How can we honor the people and places we’ve lost? This course engages the elegy, a lament for the dead. Through generative writing exercises, reading, and discussion, we will sing of grief, honor, and hope in verse. We will read powerful elegies from Jack Gilbert, Kimiko Hahn, Gregory Orr, Kevin Young, Claudia Castro Luna, Cortney Lamar Charleston, and more.

Two sessionsSaturday & Sunday, April 28–291–4 pmGeneral: $172 | Member: $154.80

E XPLORING HOPKINS ' SPRUNG RHY THM with Deborah Woodard and Elizabeth J. Colen

All Levels | We will discuss, try out, and take off from the revolutionary poetics of Gerard Manley Hopkins. We’ll define and then practice Hopkins’ sprung rhythm, the flexible, accentual meters he pioneered by digging into the roots of English. We’ll read a number of his signature poems and write our own responses. Then, we’ll look at some contemporary takes on Hopkins, and (pardon pun) spring forth with several starts for new work. Instructors will supply a reading packet.


FOLLOW THE THRE AD with Amber Flame

Intermediate/Advanced | Develop work along a through-line or theme in this generative workshop aimed at getting you closer to manuscript creation. Students should come with a selection of work to tie together and a theme to develop through further writing. This class is highly interactive and students should be open to peer feedback and ready to both generate and revise new work. Prompts will be provided; expect to create a general skeleton for a manuscript.

Eight sessionsTuesdays, April 24–June 125–7 pmGeneral: $375 | Member: $337.50

URBAN PA STOR AL : THE CIT Y POEM with Erich Schweikher

Intermediate | American poetry has a rich history of articulating the truth of our cities. We might call this tradition urban pastoral, in contrast to English pastoral poetry, which idealizes rural life. By reframing the pastoral in an urban setting, the poem’s relationship with landscape becomes more complicated. In exercises and as-signments, we will celebrate aspects of city life and recognize and engage with its complexities. Our poems might be considered encounters, attempts to map the city’s public and private spaces.

One sessionSunday, May 61–4 pmGeneral: $89 | Member: $80.10

OBSESSIONS AND PROSE POEMS with Sarah María Medina

All Levels | What are your obsessions? How do they drive your writing? Using prose poems as our chosen form, we will generate new work. We will read work from contemporary poets of color known for prose poetry, including Yasmin Belkhyr and Khadijah Queen, among others. We will use ekphrasis to generate our own prose poems, drawing from a well of art, both visual and musical. We will expand the prose poem form, generate new work, and discuss redrafting techniques.

POETRY

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ABOUT OUR TEACHERSAnAstAciA-Renee is a writer, workshop facilitator and multivalent performance artist and author of three books: Forget It (Black Radish Books), (V.) (Gramma Press), and Answer(Me) (Winged City Chapbooks-Argus Press).

Quenton BAkeR is a poet and educator from Se-attle. He is the recipient of a James W. Ray Venture Project award from Artist Trust and the author of This Glittering Republic (Willow Books, 2016).

JAmAicA BAldwin is a graduate of the MFA Program in Creative Writing at Pacific University Oregon and a 2017 Jack Straw Writer’s Fellow. Her poetry has been published or is forthcoming in Rat-tle, Spiral Orb, Jack Straw Anthology, Hayden’s Ferry, Third Coast Review, and the Seattle Review of Books where she was the March 2017 poet in residence.

wAncy young cho has appeared in The Stranger and Salon. He received the 2008 Gold Circle Award by CSPA, and First Place in the 2005 Written Im-age Screenwriting Competition. He holds an MFA in Creative Writing from Columbia University.

eliz ABeth J. colen ’s recent books include long poem / lyric essay hybrid The Green Condition (Ricochet Editions, 2014) and novel in prose poems What Weaponry (Black Lawrence Press, 2016). Nonfiction editor for Tupelo Press, she teaches at Western Washington University.

cARA diAconoff is the author of Unmarriageable Daughters: Stories and a novel, I’ll Be a Stranger to You. She has taught creative writing at Southern Methodist University in Dallas, Whitman College in Walla Walla, Washington, and many other places.

John englehARdt is a fiction writer and a former Hugo House fellow. He holds an MFA from University of Arkansas, and his writing has appeared in Sycamore Review, The Stranger, Seattle Review of Books, and The James Franco Review.

tARfiA fAizull Ah is the author of Registers of Illuminated Villages and Seam, winner of a VIDA Award, GLCA New Writers’ Award, Milton Kessler First Book Award, Drake University Emerging Writer Award, and other honors. She is the recip-ient of three Pushcart Prizes, the Frederick Bock Prize from Poetry Magazine, and other honors.

kARen finneyfRock is the author of two young adult novels: The Sweet Revenge of Celia Door and Starbird Murphy and the World Outside, both pub-lished by Viking Children’s Books. She is a former writer-in-residence at Hugo House.

wAveRly fitzgeRAld writes both fiction (nine novels published) and nonfiction (Slow Time). Her awards include residencies at Hedgebrook and Whiteley, a fellowship from Jack Straw and a grant from Artist Trust. She teaches at international, national and regional conferences. waverlyfitzgerald.com

AmBeR fl Ame is an award-winning writer and performer whose work has garnered artistic merit residencies with Hedgebrook, Vermont Studio Center, and more. Flame has been published widely, and Write Bloody Press released her first full-length collection, Ordinary Cruelty, in 2017.

gAil folkins often writes about her roots in the American West. She is the author of a memoir titled Light in the Trees, named a 2016 Foreword INDIES finalist in the nature category, and Texas Dance Halls: A Two-Step Circuit.

BRet t hAmil is a columnist and cartoonist for City Arts Magazine and host of The Seattle Process, a political comedy talk show. He’s also a nationally touring standup comic and filmmaker. Seattle Week-ly called him "the city's premier political comic."

nicole hARdy ’s memoir, Confessions of a Lat-ter-Day Virgin, was a Washington State Book Award finalist. Her nonfiction has been adapted for radio and the stage, and noted in 2012’s Best American Essays. She earned her MFA at Bennington College. nicolehardy.org

chRistine hemp has aired her poetry and nonfiction on NPR. Her awards include Harvard’s Conway Award for Teaching Writing, a Washington Artist Trust Fellowship, and an Iowa Review Non-fiction Award. She teaches at the University of Iowa Summer Writing Festival.

sonoRA JhA is a professor of journalism at Seattle University and author of the novel Foreign. Her re-cent political essays have appeared in the New York Times, the Seattle Times, Seattle Weekly, and The Glo-balist. Sonora is Hugo House writer-in-residence.

Ruth JoffRe is the author of the story collection Night Beast. Her writing has appeared in Kenyon Review, Hayden's Ferry Review, Mid-American Re-view, Prairie Schooner, Nashville Review, and Copper Nickel. She’s currently at work on a novel.

Anne liu kelloR has received support from Hedgebrook, Jack Straw, and 4Culture. Her essays have appeared in publications such as Fourth Genre and Vela, and her memoir-manuscript explores themes of love, language, and belonging while living in China and America.

dAvid lAsky has been writing and drawing com-ics for the last 25 years. He co-authored the graphic novel Carter Family: Don’t Forget This Song, which won comics’ Eisner Award.

AdA limón is the author of four books of poetry, including Bright Dead Things, a finalist for the 2015 National Book Award in Poetry and a National Book Critics Circle Award. Her other books include Lucky Wreck, This Big Fake World, and Sharks in the Rivers.

Alex mAdison ’s fiction and nonfiction have appeared in the Indiana Review, Salon, Bitch Media, The Rumpus, City Arts, and elsewhere. She is a recent graduate of the Iowa Writers’ Workshop.

John dougl As mARshAll is the author of Reconciliation Road, an award-winning family memoir. He was the book critic for the Seattle Post-Intelligencer where he did many face-to-face interviews with prominent memoirists, including David Sedaris, Nora Ephron, Elizabeth Gilbert, and Mary Karr.

wRyly tendeR mccutchen is a poet and memoirist. They hold an MFA in Nonfiction and Poetry from Antioch University. Their poetry collection My Ugly and Other Love Snarls is available from University of Hell Press.

sARAh mARíA medinA is a poet and a fiction/creative nonfiction writer from the American Northwest. Her writing may be found in Prelude, Black Warrior Review, Poetry Northwest, and else-where. She is the poetry editor at Winter Tangerine. www.sarahmariamedina.com

susAn v. meyeRs ’ first novel, Failing the Trapeze, won the Nilsen Award and the Fiction Attic Press Award. She has received grants from the Fulbright foundation, the National Endowment for the Hu-manities, 4Culture, Artist Trust, and several artists’ residencies.

JARRet middleton is the author of Darkansas and the novella, An Dantomine Eerly. He was the founding editor of Dark Coast Press and Pharos Editions, an imprint of Counterpoint/Soft Skull Press. His writing has appeared widely in print and online.

Jm milleR has published a book of poems, Wilderness Lessons, and a chapbook. They are a Professor of Creative Writing at the University of Washington Tacoma. jm-poet.com

peteR mountfoRd is the author of the award-winning novels A Young Man's Guide to Late Capitalism and The Dismal Science. His work has appeared in dozens of major magazines and newspa-pers. He teaches at Sierra Nevada College’s MFA program.

chARles mudede is a Zimbabwean-born film-maker and writer. His films, Police Beat and Zoo, premiered at Sundance; Zoo at Cannes. He is an editor for The Stranger and has contributed to the New York Times, LA Weekly, Village Voice, and e-flux.

shAnkAR nARAyAn explores identity, power, mythology, and technology in a world where bodies are flung across borders. A multiple Pushcart Prize nominee and Kundiman, Hugo House, Flyway, Pa-per Nautilus, and 4Culture awardee, Shankar loves his mirror homes of Cascadia and Delhi.

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BJ neBlet t has authored three books and numer-ous short stories. His writing has been compared to Iassc Asimov and Haruki Murakami. His influences include The Twilight Zone, Ray Bradbury, F. Scott Fitzgerald, O Henry, and the ironies of life.

sieRRA nelson ’s books include forthcoming The Lachrymose Report and award-winning I Take Back the Sponge Cake. She earned her MFA in Poetry from UW (2002) and is Seattle’s Cephalopod Ap-preciation Society president. She teaches in Seattle, Friday Harbor, and Rome. songsforsquid.tumblr.com

theo pAuline nestoR is the author of Writing Is My Drink (Simon & Schuster, 2013) and How to Sleep Alone in a King-Size Bed: A Memoir of Starting Over (Crown, 2008). Nestor has taught the memoir certificate course for the University of Washington’s Professional & Continuing Ed program since 2006.

nichol As o’connell , M.F.A, Ph.D., is the author of the novel The Storms of Denali and several nonfiction books. He contributes to Sierra, Outside, National Geographic Adventure, The Wall Street Journal, and The New York Times.

Joe ponepinto’s novel, Mr. Neutron, will be published by 7.13 Books in spring 2018. He has been published in many literary journals in the US and abroad. He was the founding publisher and fiction editor of Tahoma Literary Review.

mARy lAne pot teR is the author of the novel A Woman of Salt and Strangers and Sojourners: Stories from the Lowcountry. She’s been awarded writing residencies at MacDowell, Hedgebrook, and Calde-ra, and a Washington State Arts Commission/Artist Trust Fellowship.

ingRid Ricks is an author, ghostwriter and narrative writing consultant. Her memoirs include The New York Times bestseller Hippie Boy and Focus, a memoir about her journey with the blinding eye disease Retinitis Pigmentosa. Learn more at: www.ingridricks.com or www.writeitoutloud.org

lAuRel sAville has been a self-supporting, award-winning writer for more than a decade. She is a corporate communications consultant, the au-thor of the memoir Unraveling Anne and the novel Henry and Rachel. She has taught at the graduate and undergraduate level.

eRich schweikheR is an educator, writer, and editor. His poems and essays have appeared in Ha-wai’i Pacific Review, Action Yes, and 42opus, among others. He is the co-founder and editor of the poetry and poetics journal Northside Review.

Joni sensel is the author of a half-dozen adult nonfiction books plus four novels and two picture books for young readers, including a Junior Library Guild selection, a 2011 Truman Award finalist, a 2009 Cybils Award finalist, and a 2001 Henry Bergh Honor book.

michAel shilling is the author of the novel Rock Bottom, which was made into a musical by the Landless Theater Company. He has taught fiction and screenwriting at Seattle University, Cornish College of the Arts, and other great places.

Beth sl At teRy is a writer, editor, and writing coach whose work has appeared in Assay: A Journal of Nonfiction Studies and Southern Women’s Review. Before moving to Seattle, she taught creative writ-ing for eighteen years at Indiana University East.

kim stAffoRd directs the Northwest Writing Institute at Lewis & Clark College in Portland, and is the author of a dozen books of poetry and prose, including Wind on the Waves (fiction), and A Thousand Friends of Rain (poetry).

ilvs stRAuss is an analytical chemist turned multi-disciplinary performance artist living in Seattle. Her art ranges from dance narratives to anamorphic sculptures, slideshow presentations to haiku poetry. More information, pertinent and otherwise, can be found at ilvsstrauss.com.

gReg stump ’s work in comics includes the weekly strip Dwarf Attack and the acclaimed comic book series Urban Hipster. A longtime contributor to The Stranger and The Comics Journal, he recently de-buted his first graphic novel, Disillusioned Illusions.

AncA l. szil ágyi ’s debut novel, Daughters of the Air, was published by Lanternfish Press. She was awarded the inaugural Artist Trust/Gar LaSalle Storyteller Award, as well as grants and fellowships from 4Culture, Made at Hugo House, and Jack Straw.

sARAh thAlleR has a PhD in literature and has taught writing, literature, and comic studies for nearly a decade. Her research focuses on trauma, disability, mental health, accessibility, authenticity, and Otherness.

Jodie noel vinson holds a MFA in nonfiction creative writing from Emerson College where she wrote a book on literary travel. Her essays have appeared in Ploughshares, Creative Nonfiction, The Gettysburg Review, The Rumpus, and Nowhere Maga-zine, among other places.

AnnA vodickA ’s essays have appeared in AFAR, Brevity, Guernica, Harvard Review, Longreads, McSweeneys’ Internet Tendency, Paste, and Best Women’ s Travel Writing 2017. She has had residency fellowships to Vermont Studio Center and Hedge-brook.

dAvid wAgoneR has published 17 books of poems and 10 novels. He is professor emeritus at the University of Washington and was writer-in-res-idence (2005-2008) at Hugo House.

emily wARn is a writer and teacher who served as founding editor of poetryfoundation.org. Her latest book, Shadow Architect, explores the 22 letters of the Hebrew alphabet. Her four other collections are The Leaf Path, The Novice Insomniac, The Book of Esther, and Highway Suite.

A Kundiman fellow, JAne wong is the recipient of a Pushcart Prize and fellowships from the US Fulbright Program, the Fine Arts Work Center, and Hedgebrook. She is the author of Overpour and an Assistant Professor at Western Washington University.

deBoRAh woodARd is a poet and translator. She has two books forthcoming in 2018: No Finis, Triangle Testimonies, 1911 (Ravenna Press) and Obtuse Diary, from the Italian of Amelia Rosselli (Entre Rios Books).

chAvisA woods is the author of three works of full-length, literary fiction: Things to Do when You’re Goth in the Country, and Love Does Not Make Me Gentle or Kind. Her fiction, poetry and essays have been featured in such publications as Tin House, Lit Hub, Electric Lit, The Brooklyn Rail, The Evergreen Review, New York Quarterly, Cleaver Magazine, Jadaliyya, and others.

cARolyne wRight ’s new book is This Dream the World: New & Selected Poems (Lost Horse Press, 2017). She has 16 earlier books and anthologies of poetry, essays, and translation; and returns this summer to Brazil on an Instituto Sacatar Fellow-ship.

diAnA xin holds an MFA from the University of Montana. Her fiction has appeared in Gulf Coast, Third Coast, Narrative, and elsewhere. A 2017 Push-cart nominee, she is a contributing editor to Moss Lit, a journal of Pacific Northwest writing.

kRisten mill ARes young is a writer whose work has appeared most recently in the Guardian, The New York Times, Hobart, Moss, KUOW, City Arts Magazine, and Pacifica. Kristen is co-founder and board chair of InvestigateWest, a nonprofit newsroom. @kristenmillares

lidiA yuknAvitch is the author of seven books, including The Small Backs of Children and The Chronlogy of Water. She is the recipient of the Ken Kesey Award for Fiction for the Oregon Book Awards, as well as two Reader's Choice awards, a PNBA award, and was a finalist for the 2012 PEN Center Creative Nonfiction Award.

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ABOUT OUR CLASSESAt Hugo House, we offer creative writing courses in a wide range of writing styles and experiences. Whether you’re writing your first poem or have a few novels behind you, Hugo House offers a class to help you become a better writer.

Our classes are taught by practicing writers and experienced teachers. Our students come from a variety of backgrounds and life experiences. What they all have in common is a love of words.

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Hugo House

HUGO HOUSE CL ASS LEVEL S

Most classes at Hugo House are intended for writers with all levels of experience, from beginning to advanced. If a class is intended for a specific level, it will be noted in the class description.

INTRODUC TORY | Writers with little or no experience in a writing class or workshop setting but who want to expand their knowledge of craft should consider introductory classes. These classes are also designed for writers of all levels who are exploring a new genre.

INTERMEDIATE | Writers with some experience in genre-specific instruction looking to deepen their under-standing and hone their craft should consider intermediate classes. These classes often feature a workshop component where student work is shared and critiqued, and students should feel comfortable with this model.

ADVANCED | Writers with significant experience in a writing class or workshop setting who seek assistance and feedback with revision should consider advanced classes.

ALL LE VEL S | Classes open to all levels are useful to a writer at any level regardless of prior writing class expe-rience.

CREDITS AND TR ANSFERS

If you need to cancel your registration for a class, the following refund schedule applies:

• 3 days or more before a class, a class credit or transfer will be issued less a $15 fee. Refunds will be issued less a $35 fee.

• 48 hours or fewer before the class starts, no refund is available.

REFUNDS

Hugo House cannot provide refunds, transfers, or makeup sessions for classes a student might miss. If Hugo House has to cancel a class, you will receive a full refund.

SCHOL ARSHIPS

Need-based scholarships are available every quarter. Check the scholarship application calendar on page 1 of this catalog, or visit hugohouse.org/classes for more information and to apply.

QUESTIONS?

If you want to know more about a class or Hugo House policies, email us at [email protected] or call (206) 322-7030. We are here to help!

FIND US ON FIRST HILL

Unless otherwise noted, classes take place at Hugo House. We are currently in an interim space while our new home is being built. You can find us right next to the Frye Art Museum on First Hill at 1021 Columbia Street.

THANK YOU TO C AFFE VITA

Complimentary coffee for Hugo House students is generously provided by Caffe Vita, an independent and locally owned roastery since 1995.

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NOTES

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NONPROFIT ORGUS POSTAGE PAIDSEATTLE, WAPERMIT #1030

1021 COLUMBIA STSEATTLE, WA 98104

Hotel Sorrento

900 Madison St.Seattle, WA 98104

Proud sponsor of Ask the Oracle,

a free quarterly Hugo House event in the

Sorrento’s Fireside Room where a panel of writers

answers audience members’ questions with passages

from their books.

thAnk you to ouR event sponsoR:

/hugohouse @hugohouse @hugohousehugohouse.org

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writing classes - Hugo House · 2018-03-01 · INTRODUCTION TO SCRIVENER with Anna Vodicka Introductory ... thor of Love Water Memory Six sessions General: $100 | Member: $99 ONLINE