There are as many different ways to approach memoir as there are memories, so this class will not assume any priority of form, but is designed to give writers looking to imagine, draft, and / or revise a book-length memoir the inspiration and tools to give a book its own life.
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In this class, we will study how writers arrive at these uncanny moments, paying special attention to how their experiments with structure and syntax subvert reader expectation.
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In this single-session workshop, we’ll look at sections of two of Joan Didion's essays and two memoirs to unpack what made her cool, unsentimental voice on the page so impactful.
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We will generate story ideas from “raw” lists found online—extrapolating characters, settings, and plots.
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This class will look at ways to conceive substantive, fresh environmental pieces that get beyond the expected.
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In this class we will discuss the how the very first lines of your novel raise questions, set expectations, and make promises your novel should fulfill.
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Covering five lessons I’ve learned over the course of my 18+ year career as a performance artist and writer, I’ll give you some insight into what panelists are looking for and drop hints on how to make your submission stand out.
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There are as many different ways to approach memoir as there are memories, so this class will not assume any priority of form, but is designed to give writers looking to imagine, draft, and / or revise a book-length memoir the inspiration and tools to give a book its own life.
Add to cart