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E&
ONLIN N
SO
IN-PER
S
CLASSE
Fall 2021
writing & reading
classesTABLE OF CONTENTS COVID-19: Select fall classes will
take place in person.
About Our Classes ... 2 All in-person classes are listed in a separate area of the catalog:
“In-Person Classes,” on pages 30 and 31. All other sections of this
Highlights ... 3 catalog will take place on Zoom or via Wet Ink, our asynchronous
learning platform.
Fiction ... 4
Nonfiction ... 8
Poetry ... 12
Mixed Genre ... 16
Writing for Performance ... 23
Reading ... 24
The Writing Life ... 25
Yearlong Courses ... 27
In-Person Classes ... 30
Free Resources ... 32
About Our Teachers ... 36
iiiiFrom Our Education Director
REGISTRATION
Register by phone at 206.322.7030 All throughout this long, dark year, I kept coming back to Ross Gay. First, I
or online at hugohouse.org. reread Catalog of Unabashed Gratitude. Then I picked my way, slowly and deli-
ciously, through The Book of Delights. While work and homeschooling droned
All registration opens at 10:30 am on, and fear and grief tried to calcify my anxious exhaustion, I couldn’t finish a
Scholarship Donation Day: August 9 novel, a memoir, even a short story. I read only poems and Gay’s 365 vignettes
Member registration: August 10 of joy. And I don’t think I’m overstating it to say that I think it saved me.
General registration: August 17
This fall, Hugo House will reopen its doors for classes for the first time in over
Register early to save with early bird eighteen months. I keep thinking of the opening poem from Catalog—“To the
pricing, in effect August 9–23. Fig Tree on 9th and Christian”—in which the figs on Gay’s community garden
tree have come ripe and people are gathering, “gleefully eating out of each
other’s hands … strangers maybe / never again.”
SCHOLARSHIPS
So maybe it’s no surprise that instructor Anna Vodicka will be teaching Writing
Need-based scholarships are available Delight: Reading & Writing from Ross Gay’s The Book of Delights. The timing
every quarter. Applications are due couldn’t be more perfect. What’s more, Gay himself will be teaching a class—
August 16, and scholarship applicants Lyric Archiving—in November and joining us for a Word Works lecture that
will be notified August 23. same evening.
Visit bit.ly/HHscholarship for more No matter which class or classes you choose this quarter—whether in-person
information and to apply. (see pages 30–31) or on Zoom (all other sections) or on your own time with an
asynchronous class—may we all be full of gratitude for this place where we can
create community and create in community.
MEMBERSHIP
A few words about logistics: for our in-person classes, there will be no more
As a member, you’ll help us provide than two classes in the building at a time, and classes will only be held in our
thought-provoking classes and events two largest classrooms, at either end of the corridor. Our classes on Zoom
that connect writers and readers to the will operate as usual, and we’ll continue to offer them for as long as there is
craft of writing. You’ll also receive great demand. More information about our reopening plans will be posted on our
benefits, including early registration website and sent to all registered students as the quarter draws near. For up-to-
and discounts on classes and events. the-minute info and updates, subscribe to our eNews.
Learn more at
hugohouse.org/become-member/ See you in the classroom,
QUESTIONS?
If you want to know more about a class
or Hugo House policies, email us at Margot Kahn Case
registrar@hugohouse.org or call
206.322.7030. We are here to help!
hugohouse.org 206.322.7030 registrar@hugohouse.org
1ABOUT OUR CLASSES
STUDENT GUIDELINES
CLASS LEVELS
Our Student Guidelines are intended to help you and your fellow
TIERED | These courses are designed students engage in our literary community with compassion, curiosity,
to equip you with tools, skills, and an and consideration. If you experience or witness any harassment or
understanding of the diverse voices at discrimination in a Hugo House class, please alert the registrar:
work in each genre. You may self-select registrar@hugohouse.org or 206.322.7030.
into classes based on where you feel
comfortable. Take these classes as Hugo House does not tolerate racist, sexist, homophobic, ableist,
many times as you like. transphobic, or any other oppressive behaviors. Please alert Margot Kahn
Case, education director, if you experience or witness any harassment or
ALL LEVELS | Many classes at Hugo discrimination. At all times, please:
House are intended for writers at any
ABOUT OUR CLASSES
level, regardless of prior writing class • Remain respectful of all writers (and their work) in the classroom.
experience. • If you come into the classroom with a background of privilege, be
aware of that position and the ways in which it can potentially affect
INTRODUCTORY | Writers with other students.
limited experience in a writing class or
• Be intentional in working against traditional power dynamics, which
workshop setting who want to expand
can alienate and silence voices that have been historically marginalized.
their knowledge should consider
introductory classes. These classes are • Be aware that your fellow students have an equal right to the class
also designed for writers who want to space and time.
explore a new genre. • Put aside personal technology, if not being used for the purpose of
the class.
INTERMEDIATE | Writers with some
experience in genre-specific instruction For the full version, please visit: hugohouse.org/classes/student-guidelines/
looking to deepen their understanding
should consider intermediate classes. ACCESS NEEDS
These classes often feature a workshop
component in which student work is For students with access needs, Hugo House is ready to help. Teachers
shared and critiqued. should reach out about access needs, but please also feel free to notify the
registrar of your individual needs before your class begins.
ADVANCED | Writers with significant
experience in a writing class or CATALOG KEY
workshop setting who seek assistance
and feedback with revision should This denotes an asynchronous class. These classes can be done
consider advanced classes. at your own pace throughout the week.
REFUNDS CANCELLATIONS & TRANSFERS
Hugo House cannot provide refunds, If you need to cancel your registration for a class, the following refund
transfers, or makeup sessions for classes schedule applies:
a student might miss. If Hugo House
has to cancel a class, you will receive a • 3 days or more before a class, a class credit or transfer will be issued
full refund. less a $15 fee. Refunds will be issued less a $35 fee.
• Less than 3 business days before a class starts, no refund, credits, or
transfers are available.
• No refunds, credits, or transfers are available after classes begin.
2HIGHLIGHTS
POETRY
DORIANNE LAUX
MAKING A POEM MEMORABLE
All Levels | What makes a poem memorable? Dave Smith says it’s “…a confident
use of language which releases feeling and keeps releasing it with repeated
readings.” Naomi Shihab Nye says for her it is, “Love and care for elemental
details … and a way of ending that leaves a new resonance or a lit spark in the
reader or listener’s mind.” We will take a close look at a variety of dazzling
poems written by contemporary poets and seek to understand what makes them
memorable. Then, we will practice imitation as a striving toward writing our own
unforgettable poems.
One session | Saturday, Sep. 11 | 10 am–1 pm PT
General: $150 | Member: $135
HIGHLIGHTS
FICTION
TIPHANIE YANIQUE
FICTION FORMS
All Levels | Fiction writers have not made as much intentional use of form—or
we don’t know we’re doing it, don’t want other people to know we are doing
it, or think that being in conversation with others might be reductive rather
than productive. So what are the fiction forms? And what are fictional elements
in the world that might be called upon as references for new written fictional
forms? What new fiction forms does our culture need now? In this class, we will
address these questions and find ways to answer them in our work.
One session | Sunday, Nov. 7 | 1:10–4:10 pm PT
General: $150 | Member: $135
POETRY
ROSS GAY
LYRIC ARCHIVING
All Levels | Learn about lyric archiving! This generative class will feature a series
of writing experiments, including mapping, dreamwork, drawing, and collage
work. Writers from all genres are encouraged to attend.
One session | Friday, Nov. 12 | 10 am–1 pm PT
General: $150 | Member: $135
3FICTION
tiered classes
FICTION I SUSAN MEYERS
Whether you’re looking to write stories or a novel, this course will introduce three Six sessions
key elements of fiction: description, conflict, and character. Alongside published Tuesdays, Sep. 28–Nov. 2
examples and writing prompts, you will write a short story and learn the basics of 5–7 pm PT
the workshop model. General: $305 | Member: $275
FICTION II ALMA GARCÍA
This class will build upon craft learned in Fiction I. We’ll briefly review the basics Eight sessions
of character, conflict, and plot, then focus on craft elements including point of Thursdays, Sept. 30–Nov. 18
view, setting, scene, pacing, and dialogue. Students will read published stories 7:10–9:10 pm PT
weekly, do weekly in-class and take-home writing exercises, lead discussions, and General: $395 | Member: $355
workshop their own drafts (including a full story or story/novel excerpt) in a
supportive environment with their teacher and peers.
FICTION I (ASYNCHRONOUS) PETER MOUNTFORD
Whether you’re looking to write stories or a novel, this course will Six sessions
FICTION
introduce key elements of fiction: character, plot, voice, setting, and Nov. 8–Dec. 19
point of view. Through a combination of published examples, writing prompts, Online via Wet Ink
and feedback from both classmates and the instructor, this course provides a General: $305 | Member: $275
practical and straightforward foundation in craft that will help writers take their
fiction to the next level. This class takes place online through our partners at Wet
Ink, and sessions can be done at your own pace throughout the week.
general
REVISING THE SHORT STORY JEFF BENDER
All Levels | This eight-week intensive focuses on active, practical ways to revise Eight sessions
short fiction. Students will bring a draft to class, and we will discuss concrete tactics Wednesdays, Sep. 8–Oct. 27
of cutting, expanding, and “listening to” the work, all aimed at striking the electric 5–7 pm PT
core of the story. We’ll also spend time working with some of the revision strategies General: $395 | Member: $355
outlined in Craft in the Real World, Matthew Salesses’ new book about challenging
the traditional writing workshop.
BACKSTORY: HOW MUCH IS ENOUGH? JENNIFER HAUPT
Introductory | The first fifty pages of any book are critical for drawing in readers Four sessions
and keeping them engaged. (Not to mention keeping yourself engaged and moving Saturdays, Sep. 18–Oct. 16
forward.) That means balancing backstory, present action, and hints at what will [No class Oct. 2]
come. We’ll discuss the basics of what needs to happen in these critical pages, look 10 am–12 pm PT
at examples of successful beginnings, and do exercises to get down to the bones of General: $240 | Member: $216
credible characters and storylines. Students can expect to workshop the first ten
pages of their book.
4ADVANCED SHORT STORY WORKSHOP CORINNE MANNING
Advanced | This workshop utilizes the Critical Response Process, an anti- Sixteen sessions
oppressive feedback strategy that focuses on the writer receiving the feedback Wed., Oct. 6, 2021–Feb. 2, 2022
that is most useful to the story. We workshop one story per class with each student [No class Nov. 24, Dec. 22, Dec. 29]
having one entire class devoted to their story. Before a student’s workshop they 7:10–9:10 pm PT
will have a conference with the instructor to collaboratively determine what craft General: $760 | Member: $684
aspect the class will discuss alongside their story.
THE PROJECT NOVEL LIZA BIRNBAUM
All Levels | All novels are a project for their author—but what happens if the Ten sessions
content of a novel is a project for the protagonist as well? In this class, we’ll read Thursdays, Oct. 7–Dec. 16
three books (Alexandra Chang’s Days of Distraction, Sheila Heti’s Motherhood, and [No class Nov. 25]
Chris Kraus’s I Love Dick) in which the fictional narrator is also a writer/curator 5–7 pm PT
and the construction of the text becomes a part of the plot itself. Expect lively General: $480 | Member: $432
conversation about the possibilities and complications this meta-storyline opens,
as well as prompts for your own writing.
ENDINGS AND BEGINNINGS: THE CRAFT OF STORY RADHIKA SHARMA
All Levels | Master storytellers know how to draw the reader in and how to inspire Six sessions
and astonish us with the ending. In this workshop, we will read a range of writers Thursdays, Oct. 14–Nov. 18
FICTION
( Jhumpa Lahiri, Alice Munro, Karen Joy Fowler, Angela Carter, and more) whose 12:30–2:30 pm PT
work engages and invigorates, paying special attention to the beginnings and General: $305 | Member: $275
endings of their stories. We’ll discuss what defines a fulfilling ending, whether an
ending can be a beginning of some kind, and if and how endings can be planned.
Students can expect to come away with three new beginnings and an outline of a
short story.
SETTING AS CHARACTER IN MIDDLE GRADE/
YOUNG ADULT FICTION AMANDA HOSCH
Intermediate | A well-developed setting transports a young reader firmly into another One session
world. We’ll analyze strong settings from recent MG/YA novels, seeing how place Saturday, Oct. 17
can comfort and/or challenge the main character and deepen inner growth. For in- 1:10–4:10 pm PT
class writing exercises, we’ll use prompts to explore giving setting a personality, both General: $90 | Member: $81
as a refuge and as a threat. This class is intended for adult writers of middle grade/
young adult fiction.
NOVEL IMMERSION ELISE HOOPER
Intermediate | Designed to complement National Novel Writing Month (NaNoW- Six sessions
riMo), this class will set your course for writing a novel at a pace that feels right for Mondays, Oct. 25–Nov. 29
you. Using in-class writing exercises and homework assignments focused on plot- 1:10–3:10 pm PT
ting, developing characters and setting, and exploring point of view and structure, General: $305 | Member: $275
you’ll develop a plan to get your novel underway.
5WRITING THE VIGNETTE (ASYNCHRONOUS) JEFF BENDER
All Levels | Vignettes are fun and satisfying “blips” of writing, which are Six sessions
generally considered prose but tend toward poetry. They don’t necessarily Nov. 1–Dec. 12
“go” anywhere but, when artfully roped together, have created some astonishing Online via Wet Ink
longer works, including The House on Mango Street by Sandra Cisneros and An General: $305 | Member: $275
American Childhood by Annie Dillard. This workshop examines and celebrates
this small, vibrant unit of fiction. Fiction writers, memoirists, and poets who are
looking to transition to prose are encouraged to register. This class takes place
online through our partners at Wet Ink, and sessions can be done at your own pace
throughout the week.
REVISION STRATEGIES CARI LUNA
Intermediate | Do you find yourself at a loss when revising your fiction, spending One session
hours moving commas around while the larger edits evade you? Revising your Sunday, Nov. 14
writing can be an intimidating, overwhelming experience, but it doesn’t have to 10 am–1 pm PT
be. In this class, you’ll learn tools and techniques to help you analyze your work; General: $90 | Member: $81
to see the big picture as well as all the intricate moving parts; and to then revise it
to a final, polished draft. Bring a draft of a story or a novel excerpt that you’d like
to work on in class.
WRITING TECHNOLOGY INTO FICTION CAROLYN ABRAM
FICTION
All Levels | We live much of our lives on our devices, communicating with each One session
other through Zoom, texts, emojis, GIFs, feeds, posts, apps, and videos, yet fiction Sunday, Nov. 14
is still figuring out how to represent these facets of our lives in prose. This class 10 am–3 pm PT
is designed to help organize your thinking as you bring modern technology into General: $120 | Member: $108
your work. We’ll look at examples from a variety of authors and genres in order to
make the decisions that work best for our writing. This class will have an hour-long
lunch break.
WRITE YOUR NOVEL NOW! SUSAN MEYERS
All Levels | Whether you’re just getting started or simply need a recharge, this Two sessions
intensive “boot camp” experience will give you the tools you need to start (and Saturday & Sunday, Nov. 20 & 21
finish!) your novel. Through a study of professional examples, we’ll look at 1:10–5:10 pm PT
foundational concepts of novel writing, from hooking the reader and developing General: $240 | Member: $216
a plot, to shaping chapters and keeping momentum. We’ll engage in a variety of
writing exercises, study approaches to outlines and planning, workshop student
drafts, and discuss possibilities for publication.
LINING UP SUSPECTS FOR YOUR MYSTERY WENDY KENDALL
Introductory | Creating characters with credible means, motive, and opportunity One session
is essential to an intriguing mystery that readers won’t want to put down. This Monday, Nov. 22
workshop provides specifics on designing engaging suspects, and how to reveal 5–7 pm PT
who did and who didn’t do it. General: $60 | Member: $54
6STRANGE FICTION LAURA LAMPTON SCOTT
All Levels | A man made famous for playing a vampire on TV is haunted by a real One session
ghost; a contemporary boarding school feels stuck in the Victorian era; a city’s Sunday, Dec. 5
polluted river conceals a monster. The unusual is thriving in contemporary story- 10 am–1 pm PT
telling, imitating our strange times. We will experiment with strangeness and con- General: $90 | Member: $81
sider the ways it can express very real experiences. Plan to read stories before class
and start two new pieces.
POINTS OF VIEW AS POINTS OF LIGHT TOMMY ORANGE
All Levels | Point of view presents many possibilities for vision and revision. In firsts One session
and thirds and seconds, in closeness and omniscience, in singularity and plurality, Sunday, Dec. 5
point of view can be used to reimagine minds and hearts, to guide the reader 1–4 pm PT
through imagined worlds like points of light. In revision, POV can be used to give General: $150 | Member: $135
the work itself light—to see something in a character or a scene that maybe wasn’t
visible or apparent. In this workshop, we’ll look at POV as a tool for revision. Bring
a piece in progress with which to experiment.
FICTION
Looking for an in-person fiction
class this fall? Check out pages
30–31!
HAVE A MANUSCRIPT THAT NEEDS SOME HELP?
Connect with one of our manuscript consultants—all experienced teachers and writers—to receive one-on-one
guidance for your works-in-progress; applying for awards, residencies, or MFA programs; submitting to agents,
magazines, or publishers; or other writerly concerns. Select consultants are also available for line- and copyediting
services. To see the full list of consultants and services offered, visit bit.ly/manuscriptconsultants.
7NONFICTION
tiered classes
CREATIVE NONFICTION I GAIL FOLKINS
This class will help you decide the best way to tell the nonfiction story you want Six sessions
to tell. We will figure out the true topics of our pieces, and how to most effectively Wednesdays, Sep. 8–Oct. 13
explore those topics through points of view, scene, reflection, and form. Using 5–7 pm PT
generative writing, reading, and an introduction to the workshop model, we will General: $305 | Member: $275
begin to investigate our own personal stories. Students will generate ten pages to
share in workshops and will receive extensive instructor feedback.
CREATIVE NONFICTION II NICOLE HARDY
This class will build on craft learned in Creative Nonfiction I with a focus on Eight sessions
structure and form. We will investigate both traditional and nontraditional forms, Tuesdays, Sep. 7–Nov. 2
including memoir, the lyric essay, and the hermit crab essay, as well as the role of [No class Oct. 12]
research in creative nonfiction. Students can expect weekly readings, exercises, and 7:10–9:10 pm PT
workshops with significant instructor feedback. General: $395 | Member: $355
NONFICTION
CREATIVE NONFICTION II (ASYNCHRONOUS) NICOLE HARDY
This class will build on craft learned in Creative Nonfiction I with a focus Eight sessions
on structure and form. We will investigate both traditional and nontra- Sep. 7–Nov. 1
ditional forms, including memoir, the lyric essay, and the hermit crab essay, as well Online via Wet Ink
as the role of research in creative nonfiction. Students can expect weekly readings, General: $395 | Member: $355
exercises, and workshops with significant instructor feedback. This class takes place
online through our partners at Wet Ink, and sessions can be done at your own pace
throughout the week.
general
REVISION AND DECISION EMILY RAPP BLACK
Intermediate/Advanced | In this six-week class, we will focus on strategies for Six sessions
revision. Writing is 99.9 percent revision, so it’s crucial to lean into this fact. Wednesdays, Sep. 15–Oct. 20
Finished work is the result of multiple drafts, sometimes hundreds or more. In 1:10–3:10 pm PT
light of that fact, it’s important to get comfortable with revision. The goal of the General: $305 | Member: $275
class is twofold: to take a select piece of your current work to the next level and
develop a personalized strategy you can employ with all your other work.
THE ART OF BOOK REVIEWING TESS TAYLOR
All Levels | A good book review is a chance both to explore and name literary Three sessions
pleasure and to offer another artist the gift of our attention. In this class, we will Wednesdays, Sep. 15–29
discuss how to develop and craft a book review with care. We will read different 5–7 pm PT
book reviews and learn to pitch and write our own, workshopping our material General: $180 | Member: $162
together, with an eye toward entering our own reviews in the literary ecosystem.
8FINDING YOUR VOICE IN MEMOIR SUSAN MEYERS
Introductory | You know you have a memoir in you—but how do you put yourself One session
into that story? Creating yourself as a character is both exciting and challenging. Sunday, Sep. 19
This class guides you through the process of harnessing your memories, emotions, 10 am–2 pm PT
and personal traits in order to create a sense of “you” on the page. You’ll learn how General: $120 | Member: $108
to develop characters, find your voice, and connect with readers. By the end, you’ll
be ready to write not just your story—but yourself !
EXPLORING IDENTITY-EMPOWERED ESSAYS RACHEL WERNER
All Levels | Taking a structured deep dive into nonfiction excerpts from Disability Four sessions
Visibility, Pleasure Activism, and The Undocumented Americans, students will use Thursdays, Sep. 23–Oct. 14
these contemporary works as mentor texts for how to include more empowered 1:10–3:10 pm PT
language in personal essays and memoir writing. Sessions 1–3 will focus on a General: $240 | Member: $216
selected reading from the texts; the final session will be a workshop, including time
for each student to receive feedback via author-guided critiques.
INTRO TO MEMOIR WRITING, PART I:
DISCOVERING YOUR STORIES THEO NESTOR
NONFICTION
Introductory | Do you want to write about your life but aren’t sure where to begin? Ten sessions
Or maybe you know where to begin—you’ve begun a thousand times already—but Tuesdays, Sep. 28–Nov. 30
now what? The primary focus of this class will be to help you to discover your 5–7 pm PT
personal themes and narratives and to introduce you to the memoir genre. This is a General: $480 | Member: $432
generative class offering prompts, activities, and ideas for developing your “starts.”
Bring your notebook and pen or charged laptop.
SHORT ESSAYS FOR THE INTERNET KIMBERLY DARK
All Levels | Whether they’re expository, personal, or reported, internet publications One session
are seeking clear, compelling short essays. In this workshop, we’ll cover how to Saturday, Oct. 2
identify your specialty themes, and how to outline and write short essays about 1:10–4:10 pm
single issues (750–1,000 words) including a call to action. We’ll discuss different General: $90 | Member: $81
short essay forms and when to choose each. We’ll discuss how to find publications
to fit your interests (and how to tailor your writing to publications you admire).
Students will practice pitches and leave with lots of homework, because practice is
what’s needed to succeed.
FINDING YOUR FORM IN NONFICTION KATE LEBO
Intermediate | Formal constraints aren’t just arbitrary rules that give writing shape Eight sessions
and rhythm. They’re restrictions that can set our writing free. When we’re struggling Wednesdays, Oct. 6–Dec. 1
to begin a work of nonfiction, how do we find the right form? How can formal con- [No class Nov. 24]
straints guide us toward the fullest expression of our art? We’ll read a lot—whole 7:10–9:10 pm PT
books in addition to standalone essays—and discover how other writers make and General: $395 | Member: $355
break forms. We’ll “try on” forms we admire. Then we’ll invent our own.
9DISCOVERING YOUR STORY:
WRITING CREATIVE NONFICTION FOR WOMXN OF COLOR ANNE LIU KELLOR
All Levels | This workshop is for womxn of color who desire to tap into their Ten sessions
most personal questions, persistent memories, and meaningful stories through Wednesdays, Oct. 13–Dec. 15
freewriting exercises and discussions of readings that highlight diverse voices. We 5–7 pm PT
will also examine the writing process; cover the building blocks of craft (scene, General: $480 | Member: $432
reflection, point of view, and form); and look at revision strategies. Students may
opt to submit a final essay to the instructor and exchange writing with their peers in
a supportive, nonjudgmental environment.
WRITING ABOUT DEATH KATHERINE STANDEFER
All Levels | All humans die. To focus on this fundamental truth can be macabre—yet Six sessions
death exists hand in hand with some of our most powerful, precious, and beautiful Mondays, Oct. 18–Nov. 22
experiences. In this six-week class, we’ll explore the craft of writing about death, 7:10–9:10 pm PT
noticing the narrative structures and syntax that effectively hold brutal experiences. General: $305 | Member: $275
We’ll draw on excerpts and essays from Audre Lorde, Jesmyn Ward, Eva Saulitis,
Thich Nhat Hanh, and Emily Rapp Black. Participants will generate one new essay
of their own.
NONFICTION
FOOD WRITING 101 SABRA BOYD
All Levels | Food writing can be notoriously difficult to break into. After all, Six sessions
everyone eats and everyone has opinions. In this course, we will workshop a draft Sundays, Oct. 31–Dec. 5
and hone timely angles to pitch the right editor. We will also discuss the politics and 1:10–3:10 pm PT
ethics of food writing, exploring contemporary work by Soleil Ho, Bani Amor, Joe General: $305 | Member: $275
Yonan, Osayi Endolyn, Naomi Tomky, Noah Cho, Michael Twitty, Kat Kinsman,
and more. (Warning: These class discussions will probably make you hungry!)
BRAIDING SWEETGRASS AND THE SELF GABRIELA FRANK
All Levels | Interwoven with themes from Robin Wall Kimmerer’s Braiding Six sessions
Sweetgrass, this generative class will encourage writers to delve into their relationship Wednesdays, Nov. 3–Dec. 15
with identity, the body, nature, biology, ancestors, community, and the living world. [No class Nov. 24]
Each week, students will come away with new writing that can be starts for flash 5–7 pm PT
essays or braided together to form a longer collaged essay. Students will have the General: $305 | Member: $275
option for an instructor conference for feedback on their work.
WRITING CRITICAL ESSAYS AND REVIEWS KEVIN O'ROURKE
All Levels | As the saying goes, everyone’s a critic. Or are they? Students interested Six sessions
in criticism—literary, music, cultural—will explore the art of critical writing by Saturdays, Nov. 6–Dec. 18
exploring the work of others and producing their own work. We’ll read a variety [No class Nov. 27]
of pieces, from snarky book and Pitchfork reviews to more sober works of political 1:10–3:10 pm PT
criticism. Students can expect lively, inclusive discussions; exposure to a range of General: $305 | Member: $275
work; and to produce a portfolio of their own.
10COMEDIC STORYTELLING MARGOT LEITMAN
All Levels | There’s an art to making painful, strange, or even mundane life One session
experiences funny. Students will learn to dig inside their own lives to find humorous, Sunday, Nov. 7
relatable material that will unify an audience, making them laugh at their own 10 am–1 pm PT
experiences through the student’s performance. Students will leave class with a General: $90 | Member: $81
strong understanding of how to structure a story for comedic purposes. Additional
focus will be on getting through the fear of being judged for our honesty.
THE MICRO ESSAY ANNA VODICKA
All Levels | Between Twitter and wall feeds, blogs and Brevity, some of the most Six sessions
exciting contemporary writing is happening in the space between 140 characters Tuesdays, Nov. 9–Dec. 14
and 1,000 words. In this generative course, we’ll explore the ranges of short-form 5–7 pm PT
nonfiction, learn how restraint and constraint can enhance the power of prose, General: $305 | Member: $275
and practice the art of economy in our own micro-essays, inspired by readings and
prompts.
ROADMAPPING YOUR MEMOIR INGRID RICKS
All Levels | Develop a clear roadmap for your memoir in this generative workshop. Two sessions
NONFICTION
Memoir author and writing coach Ingrid Ricks will help you hone in on your story, Sundays, Nov. 14 & 21
theme, and message, and teach you four compelling ways to structure your book. 10 am–1 pm PT
Then she’ll walk you through the simple outlining process she employs for every General: $220 | Member: $198
book project she takes on. This class includes a 30-minute individual coaching
session between the two classes to drill down on your story structure and message.
WRITING ABOUT POP CULTURE LISA LEVY
All Levels | We live in an age of democratized criticism. In this class, you will write Four sessions
about what you love, whether it’s reality TV, travel, gaming, TikTok videos, movies, Tuesdays, Nov. 23–Dec. 14
books, or YouTube channels. You can explore your passion for romance novels or 12:30–2:30 pm PT
geek out about gadgets—all forms of pop culture are up for analysis, description, General: $240 | Member: $216
and debate. But if we can all be critics now, do we have any responsibility to
announce our biases, or to proclaim our objectivity? Are we looking for objectivity
from critics, or just a taste that echoes our own?
COMEDIC MEMOIR MARGOT LEITMAN
All Levels | Refine what’s funny, specific, unique, and timely about your story One session
in this one-session class. You’ll learn some overall principles of memoir writing, Saturday, Dec. 4
pitch and refine your memoir idea with the group, learn the publishing process of 10 am–1 pm PT
memoir, and leave with ideas of where to begin those important sample chapters. General: $90 | Member: $81
11POETRY
tiered classes
POETRY I JEANINE WALKER
Designed for any poet ready to take their poetry understanding to a new level, Po- Six sessions
etry I will introduce or reintroduce you to poems from many different eras—we’ll Wednesdays, Nov. 10–Dec. 15
read Walt Whitman, Robert Hayden, Natasha Trethewey, and Joy Harjo, among 10 am–12 pm PT
many others—while providing a rich foundation for writing new poems. We’ll ex- General: $305 | Member: $275
plore and practice many essential elements of poetry, including image, metaphor,
sound, line breaks, and overall form.
POETRY I (ASYNCHRONOUS) JEANINE WALKER
Designed for any poet ready to take their poetry understanding to a new Six sessions
level, Poetry I will introduce or reintroduce you to poems from many dif- Nov. 10–Dec. 21
ferent eras—we’ll read Walt Whitman, Robert Hayden, Natasha Trethewey, and Online via Wet Ink
Joy Harjo, among many others—while providing a rich foundation for writing General: $305 | Member: $275
new poems. We’ll explore and practice many essential elements of poetry, includ-
ing image, metaphor, sound, line breaks, and overall form. This class takes place
online through our partners at Wet Ink, and sessions can be done at your own pace
throughout the week.
POETRY
POETRY II ESTHER LIN
Poetry II will add to your growing skill set in a supportive workshop environment. Eight sessions
We’ll learn by closely reading and responding to mentor texts as well as each other’s General: $395 | Member: $355
poems, and practice the art of revision so that you can continue to hone your work Visit hugohouse.org for
beyond the bounds of the classroom. information on dates and times.
general
ADVANCED POETRY WORKSHOP MARTHA SILANO
Advanced | In this inclusive, welcoming workshop, we will explore and experiment Ten sessions
with innovative and traditional group feedback methods with the intended out- Tuesdays, Sep.14–Nov. 16
come of creating poems that meet each workshop member’s criteria for excellence 10 am–12 pm PT
in myriad aspects, including clarity, image, sonic devices, figurative language, and General: $480 | Member: $432
subversion of the ordinary in favor of the unexpected. We will also analyze and
discuss poems we admire and use our time together to generate new work. Pre-
requisite: 3–4 poems submitted to instructor. Applications for this class are due
August 31.
CRAFT ELEMENTS IN POETRY:
IMAGE, SOUND, SYNTAX, AND THE LINE GABRIELLE BATES
All Levels | In this course, we will focus on four particular craft elements—image, Six sessions
sound, syntax, and the line—in order to expand our knowledge of how poets Sundays, Sep. 12–Oct. 24
transmit thought and feeling through language. After our introductory meeting, [No class Oct. 3]
each week will focus on one particular element, diving deep into exemplary poems, 3–5 pm PT
then practicing the moves ourselves through a series of prompts. General: $305 | Member: $275
12FORMING FORM: POETIC SHAPE IN FREE-VERSE POEMS LISA GLUSKIN STONESTREET
Intermediate/Advanced | For poets working in so-called free verse, the shape of Two sessions
a poem is a question that must be asked with every new piece. In this class, we’ll Sundays, Sep. 19 & 26
explore techniques for exploring, developing, and refining poetic form. What are 10 am–1 pm PT
the effects of our choices? Bring three poems in progress; we’ll use discussion, General: $180 | Member: $162
reading, and formal play to help each poem find the shape it wants to take.
BEFUDDLED, BEREFT, BROKEN:
RESISTANCE TO POETIC CLOSURE DILRUBA AHMED
Intermediate | In this class, we’ll think together about how selected poems create Three sessions
an interplay between closure and openness. Specifically, we’ll examine poems Thursdays, Sep. 23–Oct. 7
that grapple with difficult (and therefore not easily resolved) content. How do 10 am–12 pm PT
poets use syntax, diction, and more to thwart our sense of closure in ways that are General: $180 | Member: $162
emotionally resonant with the content? We’ll also explore possibilities for closure
and openness in our own work. Bring 1–2 draft poems for experimentation!
HAVING FUN WITH FORMS VERONICA GOLOS
All Levels | In this class, we will discuss the dictionary, the bop, the golden shovel, Two sessions
the ghazal, the gacela, found poems, visual poems, and more. We’ll explore how Saturday & Sunday, Sep. 25 & 26
you can change a poem’s form and deepen the content by doing so. Participants 10 am–12 pm PT
will be sent poems and exercises via email before workshop. We will spend the first General: $120 | Member: $108
POETRY
session on the packet of poems and the second session on our own work.
WRITING ALONGSIDE JOHN KEATS AND JOHN CLARE DEBORAH WOODARD
Intermediate | We’ll mark the 200th anniversary of the death of John Keats, the Eight sessions
English Romantic poet with the most visceral connection to the senses and the Saturdays, Oct. 2–Nov. 20
shortest, most meteoric life, by writing alongside him and his contemporary, John 1:10–3:10 pm PT
Clare, who, with his rural background, lived in the world that other Romantic General: $395 | Member: $355
poets just observed. You can expect weekly prompts, read-arounds, and the
instructor’s feedback on assignments. Required texts: John Clare, ed. Robinson,
Powell (Oxford UP); John Keats: Complete Poems and Selected Letters (Modern
Library).
ENTRANCES: TITLES & FIRST LINES SARA BRICKMAN
All Levels | A good title and a strong first line determine whether your reader One session
will continue reading or move on to another poem. An unforgettable first line Saturday, Oct. 9
changes the whole tenor of your poem, but they are notoriously hard to write. 1:10–4:10 pm PT
Titles are even more mysterious. In this generative class, you’ll learn and practice General: $90 | Member: $81
five different techniques for opening a poem: the Run On, the Confession, the
Fairytale, the Time Machine, and the Confrontation. With practice, you’ll hone
your intuition and courage to leave the blank page behind and write first lines that
grab your reader and won’t let go. Bring one or two poems-in-progress that need a
stronger opening or a shiny new title.
13POETRY REVISION INTENSIVE LISA GLUSKIN STONESTREET
Intermediate | Writing is revising, we say. But often we take a first draft, in whatever Six sessions
form it arrives, and chip away at it until it looks something like a poem. Yet revision Thursdays, Oct. 14–Nov. 18
has the potential to be a much more radical and creative act. In this class, we’ll 6:30–8:30 pm PT
explore multiple techniques for reenvisioning and revising poems. You’ll have a General: $305 | Member: $275
chance to workshop three of your poems, emerging with 8–12 substantial revisions
and a range of revision tools.
EXITS: WRITING ENDINGS SARA BRICKMAN
All Levels | The poet Rachel McKibbens says, “Poems don’t end, they just stop.” One session
The best endings leave us reeling, the tops of our heads blown off by knowledge Saturday, Oct. 16
we didn’t know we needed, reverberating long after the words have finished and 1:10–4:10 pm PT
we’ve turned the page. But how do we know when a poem is done? In this class, General: $90 | Member: $81
you’ll learn five techniques for ending a poem. Learn how to Slam the Door, Sing
the House Down, Jump Out the Window, and more. Bring one or two poems-in-
progress that you don’t know how to end.
THE SEQUENCE JUDITH SKILLMAN
Intermediate/Advanced | Students will explore their obsessions in order to write a Six sessions
sequence of poems centered on a person, myth, place, or other subject. We rarely Wednesdays, Oct. 20–Dec. 1
write one piece without finding images worthy of investigation. Using Keats’ [No class Nov. 24]
POETRY
concept of negative capability, we will “entertain uncertainty.” The sequence can 7:10–9:10 pm PT
be developed into a chapbook or book-length collection. Prompts will be provided General: $305 | Member: $275
by instructor. Example: Berryman’s Dream Songs. Bring a poem to the first class.
DOORWAYS: WRITING POETIC TURNS & HINGES SARA BRICKMAN
All Levels | No poem is complete without a moment of surprise or transformation. One session
But how do you write without knowing what you’re writing? In this class, you’ll Saturday, Oct. 23
practice building doorways, tunnels, and hinges. We’ll use meditative techniques 1:10–4:10 pm PT
and experiments to help you uncover the hidden possibilities in each stanza, General: $90 | Member: $81
and generate material using strategies like the Leap, the Volta, the Trap Door,
the Bulldozer, and Breaking the Fourth Wall. You’ll leave with renewed trust in
yourself, and a deeper understanding of how to build moments that make a poem
extraordinary. Bring one or two poems-in-progress that feel flat, confusing, or just
too simple.
ASSEMBLING THE MANUSCRIPT TESS TAYLOR
Advanced | What does it mean to move from writing good poems to weaving and Six sessions
assembling an entire book? How do poets listen to the specific calls of the muse Wednesdays, Nov. 3–Dec. 15
toward disparate verses and keep an eye on the wider shape of a possible emergent [No class Nov. 24]
volume? We will read several collections to understand their logics of assembly, do 5–7 pm PT
strategic writing to fill out our collections, and collect strategies for aligning our General: $305 | Member: $275
own poems.
14AUTOPOIESIS: LEAH SILVIEUS
A POETRY WORKSHOP FOR TRANSRACIAL ADOPTEES & TIANA NOBILE
All Levels | In this generative poetry workshop exclusively for transracial adoptees, One session
we’ll explore taking ownership of our stories. Questions around belonging, familial Tuesday, Nov. 9
history, and erasure are built into the adoptee experience. We will consider these 6–9 pm PT
questions through craft exercises that focus on found text/erasure, collaboration, General: $90 | Member: $81
and direct address looking to poets such as Sun Yung Shin, Arhm Choi Wild, Rita
Dove, Robin Coste Lewis, and Muriel Leung to guide us. We’ll put all the pieces
together through a self-portrait exercise at the end of class.
POETRY FORMS LYDIA K. VALENTINE
All Levels | Audre Lorde said, “Poetry is the way we help give name to the nameless Four sessions
so it can be thought.” The prospect of crafting thoughtful, meaningful reflection Thursdays, Nov. 11–Dec. 9
on life can be daunting on a good day and is even more so in uncertain and [No class Nov. 25]
tumultuous times like we are in today. Using poetic forms can provide a structure 6–8 pm PT
that makes the writing easier. In this workshop, you’ll be exposed to and write in General: $240 | Member: $216
poetic forms from the pantoum to the golden shovel. No prior writing experience
necessary.
THE FIVE STAGES OF ECOLOGICAL GRIEF:
A POETRY WORKSHOP JESSICA GIGOT
POETRY
Introductory | Elisabeth Kübler-Ross famously described the five stages of grief One session
as denial, anger, bargaining, depression, and acceptance. More recently, the term Saturday, Nov. 13
ecological grief has been used to understand the loss humans experience as a result of 1:10–4:10 pm PT
ongoing, irreversible environmental destruction. We will learn from contemporary General: $90 | Member: $81
ecopoets as well as investigate both our interior and exterior landscapes in order
to craft new poems that probe and illuminate this grief and lead us on a path to
awareness, climate justice, and, perhaps, a sixth stage of ecological grief: action.
Many classes in the Mixed Genre
section cover general poetry
techniques. See pages 16–22.
15MIXED GENRE
KEEP THE CHANNEL OPEN:
A GENERATIVE PROSE WORKSHOP LIZA BIRNBAUM
All Levels | This nontraditional workshop will prioritize generating new writing Ten sessions
and building a friendly, mutually accountable community. We’ll use the funda- Tuesdays, Sep. 7–Nov. 9
mentals of workshop in new ways: the first half of the class will focus on craft 5–7 pm PT
discussions based on participants’ influences and inspirations, and the second half General: $480 | Member: $432
will be structured around supportive, conversational work-sharing. Throughout,
we’ll use prompts, playfulness, and rigorous reflection to “keep the channel open,”
as Martha Graham puts it. Open to fiction and nonfiction writers at all levels.
WRITING DELIGHT: READING & WRITING
FROM ROSS GAY’S THE BOOK OF DELIGHTS ANNA VODICKA
All Levels | Part reading and discussion group, part generative writing class, 100 Eight sessions
percent delightful. Each week, we’ll read a portion of Ross Gay’s acclaimed col- Thursdays, Sep. 9–Oct. 28
lection of flash nonfiction, The Book of Delights. We’ll spend class time in guided 5–7 pm PT
discussion, generating delight-centric writing of our own through weekly prompts General: $395 | Member: $355
MIXED GENRE
and cultivating a sense of wonder, attention, and awe as we go.
THE PRACTICE OF SLOW WRITING ANN HEDREEN
Intermediate | “The best writing grows by accretion, over time,” writes Louise Three sessions
DeSalvo. “Learn to be patient in the presence of your thoughts,” advises Verlyn Saturdays, Sep. 11–25
Klinkenborg. We’ll look at examples by writers such as Nadia Owusu, Maggie 10 am–12 pm PT
O’Farrell, and James McBride who allow their writing to grow slowly from base General: $180 | Member: $162
layers to the rich ground of scene and reflection to final polishing. There will be
in-class writing prompts, suggested at-home writing, and optional sharing.
PSYCHOLOGY FOR WRITERS JOSHUA MARIE WILKINSON
All Levels | If you’re yearning to expand beyond competent verse, formulaic essays, Four sessions
and mediocre storytelling, this course will give you an array of new tools to hone Sundays, Sep. 12–Oct. 3
and cultivate psychological depth in your writing practice. In seminar discussions, 1:10–3:10 pm PT
brief lectures, and in-class writing, we’ll explore the core concepts of psychoanalysis General: $240 | Member: $216
(including projection, transference, and repetition compulsion) to catalyze your
poems, essays, and fictional characters through the deep work of inquiry and
reflection.
THE FEARLESS PEN BETH SLATTERY
Introductory | For many writers, there is nothing as anxiety-inducing as the blank Eight sessions
page, and this class will help fearful writers find courage to start, or finish, a project. Mondays, Sep. 13–Nov. 1
We will look at writers who admit to anxiety, uncover reasons why we are fearful, 1:10–3:10 pm PT
and practice techniques that will help us face those fears and produce. Also, we will General: $395 | Member: $355
write. A lot. Students will leave class with 25 pages written toward a project and
instructor feedback.
16MOVEMENTS AND MOMENTS (ASYNCHRONOUS) AIMEE SUZARA
All Levels | What is poetry for social action? We’ll read and discuss works Six sessions
by diverse, heavily BIPOC writers challenging the “canon” and forging Sep. 23–Nov. 3
the path for other writers speaking to moments that make movements. We’ll read Online via Wet Ink
poems about borders, immigration, race, and sexual orientation; poems by Native General: $305 | Member: $275
American, Asian, and Pacific Islander writers; and we’ll write poems inspired
by the readings. Poets may include Lucille Clifton, Haunani-Kay Trask, Patricia
Smith, Heid Erdrich, Barbara Reyes, and Ocean Vuong. This class takes place
online through our partners at Wet Ink, and sessions can be done at your own pace
throughout the week.
CAMERA OBSCURA: WRITING FROM PHOTOGRAPHS ANNA VODICKA
All Levels | Whether the images are found in a gallery or a family album, pho- One session
tographs are fertile ground for the creative writer. We’ll explore the relationship Sunday, Sep. 26
between these artistic mediums, read authors who take inspiration from photog- 10 am–1 pm PT
raphy (Dorothy Allison, John Berger, Diana Khoi Nguyen, Claudia Rankine), and General: $90 | Member: $81
practice various techniques using photographic prompts. We’ll primarily work
with flash essays and literary nonfiction, but writers of all genres are welcome.
MIXED GENRE
THE ART OF THE QUESTION JAKE UITTI
All Levels | To write about something, we must understand it. And we do so by Four sessions
asking questions. In this class, you’ll learn how to formulate interview questions Mondays, Sep. 27–Oct. 18
for features, profiles, and fiction writing. We’ll read interviews, study interviewers, 5–7 pm PT
and interview a special guest. In the last class, the instructor will share knowledge General: $240 | Member: $216
from over a decade in the freelance writing business.
WRITING QUEERLY SARA BRICKMAN
All Levels | Queer writers forced outside the margins have learned to write outside Eight sessions
the margins: inventing new forms, language, new names for the world around us. Tuesdays, Sep. 28–Nov. 16
In this generative workshop, students will trace the lineages and poetic strategies of 7:10–9:10 pm PT
queer writers from Sappho, Whitman, Audre Lorde, and James Baldwin to Maggie General: $395 | Member: $355
Nelson, sam sax, Carmen Maria Machado, and Jericho Brown. Then we’ll write
our own words to honor the weird, the sexy, the rough, and the majestic. Expect
a supportive peer community, detailed feedback from the instructor, and the
opportunity to write what you’re afraid to write. Students of all identities welcome.
WRITING ABOUT THE NORTHWEST SARAH CANNON
All Levels | Writers from the Northwest usually have an affinity for the dark and Eight sessions
the lush. This generative course will be filled with readings from Northwest writers Wednesdays, Sep. 29–Nov. 17
who convey conflict and respect for the area, including legends like Raymond 1:10–3:10 pm PT
Carver, Kurt Cobain, and Denise Levertov, as well as contemporaries like Ruth General: $395 | Member: $355
Ozeki, Jess Walter, and Terese Marie Mailhot. We’ll use these readings as inspiration
for our writing, then peer review our creations in class.
17I’VE DRUNK YOUR POISONED NECTAR:
WRITING WITH THE GODDESS SHANKAR NARAYAN
All Levels | More ancient and powerful than Shiva or Vishnu, the Goddess in Eight sessions
Hindu mythology provides the energy that animates all of creation. Whether Thursdays, Sep. 30–Nov. 18
known as Shakti, Durga, Kali, Uma, or by her thousands of other names, she 7:10–9:10 pm PT
slays demons amid oceans of gore, enacts cosmic transformations, masters death, General: $395 | Member: $355
dispenses compassion, and is mother to the entire universe. In this part-generative,
part-analytical class, we’ll take a deep dive into this rich mythology, deepening our
understanding of the Goddess’s many aspects, and write our own Shakti-animated
pieces. Come ready to write!
CONTAR CON EL CUERPO ROSARIO LÓPEZ
Todos los niveles | Somos cuerpos que vienen de otros cuerpos y a otros cuerpos Una sesión
van, con heridas y marcas alegres. No sentimos de la misma manera: hay quien Sábado, Oct. 2
tiene un sentido más desarrollado, quien perdió el olfato con la pandemia, o a 10 am–1 pm PT
quien amaba. Es una clase práctica y dinámica, con lecturas, ejercicios de escritura General: $90 | Miembro: $81
y conversación. Una experiencia literaria y vital para todos los niveles.
“En su significado más profundo, toda historia es algo que les sucede a los cuerpos.”
MIXED GENRE
—John Berger
HOW STORIES GET TOLD:
VOICE, NARRATIVE DISTANCE, AND PSYCHIC DISTANCE SCOTT DRISCOLL
Intermediate | In this class, we will discuss how to recognize voice and manage Six sessions
shifts between author and character voices; manipulate narrative distance to make Mondays, Oct. 4–Nov. 8
smooth transitions between drama and summary; and recognize levels of psy- 7:10–9:10 pm PT
chic distance in order to control how emotionally close we feel to the character. General: $305 | Member: $275
Readings will be from Olive Kitteridge (E. Strout) and Best American Stories 2020.
Workshops included.
HOW TO CREATE CHARACTERS WHO SNAP, CRACKLE & POP STEVE ALMOND
All Levels | Ever read (or write) a story where the hero or heroine just doesn’t seem One session
to pop? I have. Like a thousand times. This intensive (but fun-filled!) seminar will Monday, Oct. 4
investigate why some characters leap off the page while others just sit there. We’ll 6–9 pm PT
look at the work of Joyce Carol Oates, Sylvia Plath, Jane Austen, and others in General: $150 | Member: $135
an effort to examine all the untapped ways that authors can create layered, multi-
dimensional characters. And we’ll work on an in-class exercise to bring the lesson
home.
THREE SCENES IN THREE WAYS EMILY RAPP BLACK
All Levels | In this six-week class, you will have the opportunity to explore how to Six sessions
write scenes in different ways. Each week, I will give you a strategy to approach a Tuesdays, Oct. 5–Nov. 9
scene in a new way. This might be a scene you have already written, or one you’re 1:10–3:10 pm PT
planning to write. We will write and share these scenes in class, and talk about why General: $305 | Member: $275
it’s helpful to write multiple drafts of multiple scenes. The class will be both playful
and practical.
18MOTIVATION AND MEDITATION NAA AKUA
All Levels | In this class, we will cover a series of multigenre writing prompts that Four sessions
harness motivation, community reflection, introspective thought, journaling, and Wednesdays, Oct. 6–27
generative writing. We will align our work with meditative techniques that will 5–7 pm PT
help ground, inspire, and transform. If you are looking to grow in your self-care General: $240 | Member: $216
routine, develop a writing regimen, or create time and space in your day where you
can actually pause, think, and be encouraged, this class is made for you.
TECHWASHED!:
WRITING WITH AI, DATA, AND SURVEILLANCE SHANKAR NARAYAN
All Levels | Advancements in technology are invisibly challenging our society’s Four sessions
foundations. Data about us already empower some and disempower others. In this Saturdays, Oct. 9–30
part-generative, part-analytical course, we’ll examine the language of this revolu- 10 am–12 pm PT
tion through close reads of everything from technical writing and essays to poetry, General: $240 | Member: $216
fiction, and manifestos. We’ll talk about what it all means. And we’ll riff off those
materials to generate our own technologically inspired pieces. Come ready to write!
ON READING A TREE CLAUDIA CASTRO LUNA
MIXED GENRE
All Levels | Trees are an iconic symbol of the Northwest; some varieties may live Six sessions
well into the thousand-year range, yet they are static beings, their point of view Mondays, Oct. 11–Nov. 22
rooted to a particular location. What do they see over their long lifespans? This is a [No class Nov. 15]
class about seeing, about noticing the resonances between ourselves and the world 5–7 pm PT
around us. We will do this by anchoring our attention on our arboreal neighbors. General: $305 | Member: $275
We will investigate ourselves through the trees in our lives, read widely, and write
poetry and creative nonfiction.
BRILLIANT OPENINGS:
HOW TO GRAB AGENTS & EDITORS ON PAGE ONE STEVE ALMOND
All Levels | Writing’s all fun and games until the rejections start piling up. In this One session
intensive (though informal) workshop, we’ll aim to make sure your stories or essays Monday, Oct. 11
draw the reader in, rather than leaving them in the dark. We’ll take a second look 6–9 pm PT
at your opening pages, as well as the opening pages of works by Lorrie Moore, Saul General: $150 | Member: $135
Bellow, and others, in an effort to understand how they hook readers from word
one.
FOILING THE MARRIAGE PLOT LISA LEVY
All Levels | From Gone with the Wind to Gone Girl; from Madame Bovary to Fifty Six sessions
Shades of Grey; and from Helen Fielding’s Bridget Jones’s Diary to Maggie Tuesdays, Oct. 12–Nov. 16
Nelson’s The Argonauts, writers have perpetuated and interrogated the marriage 12:30–2:30 pm PT
plot. In this class we will look at a wide variety of texts that engage with romantic General: $305 | Member: $275
love and marriage. Through close reading and optional short response essays, we
will build our skills as both writers and critics, looking at assumptions around the
marriage plot and writing about these old tropes in new and unexpected ways.
19You can also read
