CREATIVE WRITING CLASS CATALOG Winter Quarter Cover Contest the Details:From Keats’S Urn to Kundera’S Kitsch, Writers Have Long Been Spurred Forward by Visual Stimuli

Home , Frank Stanford, Judith Roche, Nancy Rawles

JANUARY through MARCH WINTER 2016 CREATIVE WRITING CLASS CATALOG Winter Quarter Cover Contest The details:From Keats’s urn to Kundera’s kitsch, writers have long been spurred forward by visual stimuli. Now it’s your turn: write a six-line poem or 100-word story based on the catalog cover image. The winning piece will be published in the next catalog, and the winner will receive fifty percent off their next Hugo class. Submit your piece to [email protected]. The winner will be announced upon publication of the next catalog.

FALL QUARTER CONTEST WINNER

GETTING UP

We are ants looking at the universe through a straw. Just now, I thought I heard the doorbell—it’s I am home on disability—we’re hoping short- early; too soon for milk—so I haul myself up to check. term; too soon to tell—and when the milkman comes I catch the end of the sunrise; beams like striated 2x4s to the door, I never remember it’s him. On crutches, I bursting from a peephole-distorted core white as age. wobble to our oval (vintage) peephole where I usually see a face so sweaty it looks laminated before I open Megan Wildhood the door.

How to Register

hugohouse.org CREDIT AND TRANSFERS SATELLITE LOCATIONS If you need to cancel your regis- • University Heights Center tration for a class, the following 5031 University Way NE Seattle, WA 981 5, Room #1 8 206-322-7030 refund schedule applies: 0 0 • El Centro de la Raza • 3 days or more before a class, 2524 16th Ave S DATES OF REGISTRATION a class credit or transfer will be Seattle, WA 98144, Room #105 issued less a $15 fee. Refunds • Good Shepherd Center registration begins at 10:30 am will be issued less a $35 fee. 4649 Sunnyside Ave N

11/30/2015 Seattle, WA 98105 48 hours or fewer $500+ donor registration • before the class starts, no refund is CATALOG KEY 12/1/2015 available. member registration satellite class 12/8/2015 REFUNDS general registration 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.

QUESTIONS? If you want to know more about a class, email Angela: angela@hugohouse.org.

Cover photo by Rodion Kutsaev Classes with Visiting Writers

D. A. Powell, Heidi Julavits, Sierra Nelson, and Andrew Sean Greer, Claire Vaye Watkins, Roberto LIT SERIES OCNotes on the theme “What Goes Around Comes Ascalon, and Alex Osuch on the theme “All’s Fair in Around,” Feb. 12, 7:30 pm Love & War,” April 15, 7:30 pm

POETRY AS RESISTANCE One session Saturday, Feb. 13, 1–4 pm General: $135 | Member: $121.50

Poems are deviant, nonstandard, subversive, and built on layers of meaning, both D. A. POWELL is the author of five collections, includingUseless visible and hidden. Even a poem that exhibits regular form can hold within its body Landscape, or A Guide for Boys which received the National Book subtle avoidances, competing rhetoric, threads of unconventional or surprising Critics Circle Award in poetry. He is a recipient of fellowships language, and an undermining of convention—even as it presents a familiar pattern from the Guggenheim Foundation and the NEA. A former on the surface. We’ll look at some of the many ways in which poetry is a vehicle for Briggs-Copeland Lecturer in Poetry at Harvard University, Powell social critique and change as well as a time-honored way to resist the ordinary and has taught at University of San Francisco, Stanford, Columbia, and the obvious. Participants should bring a poem, pen, pad of paper, and a point of view. the University of Iowa Writers’ Workshop.

TIME IS AN OBJECT One session Saturday, Feb. 13, 1–4 pm General: $95 | Member: $85.50

In books, there is often the issue of time to contend with—past, present, future. HEIDI JULAVITS is the author of four novels, including the Characters typically have an implied amount of time behind them in addition to critically acclaimed The Mineral Palace. She is the managing editor a story in front of them. As a writer, how can you best manage all that time and of the literary review magazine the Believer and co-edited, with history? How do you set up limitations so that all of time is not your responsibility, Sheila Heti, the book Women in Clothes, which featured 639 or so that only a specific time is your responsibility? We will read a selection of short women’s voices from around the world reflecting on the meaning stories and novel excerpts that explore time management through objects. of their clothes.

EXPERIMENTS WITH REPETITION IN POETRY One session Saturday, Feb. 13, 1–4 pm General: $75 | Member: $67.50

Each time we approach the page we are the same person, yet unique in that moment. SIERRA NELSON (Typing Explosion, Vis-à-Vis Society), poet, How does the act of repetition help us discover something new in our work and in performer, and text-based artist, is author of I Take Back the Sponge ourselves? Taking a generative approach to this question, we’ll create new drafts in Cake (Rose Metal) and the chapbook In Case of Loss. She is a class by playing with some traditional forms (such as the villanelle, pantoum, sestina, MacDowell Colony Fellow and teaches in Seattle, Friday Harbor, and ghazal), as well as experimenting more wildly using movement, dreams, Surreal- and Rome. ist games, collaboration, and radical revisions to spark new work.

READING FOR YOUR WRITING One session Saturday, April 16, 1–4 pm General: $135 | Member: $121.50

You will learn to read fiction not as a fan or distant admirer but as a writer looking ANDREW SEAN GREER is a novelist and short-story writer. His for techniques and inspirations for your own work. Beginning at the level of the sen- second novel, The Confessions of Max Tivoli, earned him compar- tence, we will experiment, through exercises, with the myriad possibilities of fiction. isons to Proust and Nabokov from critic John Updike. His stories By the end, you will learn how to turn to your own bookcases to solve the puzzles in have appeared in Esquire, the Paris Review, the New Yorker, and your work. In the process, you will be introduced to dozens of new authors to whom other national publications. you might turn in the dark hours of creation.

FIRST PAGES WORKSHOP One session Saturday, April 16, 1–4 pm General: $95 | Member: $85.50

We will workshop the opening pages of your story or novel with meticulous atten- CLAIRE VAYE WATKINS has appeared in Granta, One Story, the tion to the promises made by your language. We’ll scrutinize the openings of your Paris Review, Ploughshares, Glimmer Train, Best of the West 2011, story or novel the way fatigued and time-crunched editors, agents, and slush readers New Stories from the Southwest 2013, the New York Times, and Rebecca Hoogs, Detar, Kaliel Shae Roberts, Fields, Alice and O’Malley Ken top) by: from Photos (starting at literary magazines do, then rework them to be more instantly absorbing, narrative- elsewhere. She was named one of the National Book Foundation’s ly propulsive, authoritative, and elegant. Bring the first two pages of your manuscript. “5 Under 35.” 1 Classes with Visiting Writers

LIT SERIES, cont.

TOWARD AN IMPURE POETRY One session Saturday, April 16, 1–4 pm General: $75 | Member: $67.50

In “Toward an Impure Poetry,” Pablo Neruda wrote, “A poetry impure as the cloth- ROBERTO ASCALON is a poet, writer, arts educator, and spo- ing we wear, or our bodies, soup-stained, soiled with our shameful behavior.” Some ken-word performance artist who lives in the historic Youngstown/ say that the body and the poem are one and the same. How must we poets reconcile Cooper School in West Seattle. The recent recipient of the 2013 what we are with what we create? How can we craft poems that arise out of the Rattle Poetry Prize, Ascalon has taught at Nova High School and richness of blood, bone, and gristle? We will read and write visceral poems that revel participated in Seattle Arts and Lectures’ Writers-in-the Schools in the stuff of the body. program. He currently works as a teaching artist and mentor for Arts Corps, Youth Speaks Seattle, and the Service Board.

Maggie Nelson on the WORD WORKS Writing Body, Jan. 28, 7 pm

THE BODY IN TIME One session Friday, Jan. 29, 10 am–1 pm General: $150 | Member: $135

In his review of French writer Herve Guibert’s collected journals, The Mausoleum MAGGIE NELSON is the author of five books of nonfiction and of Lovers, Wayne Koestenbaum writes: “I hope that Guibert’s journal will bring this four books of poetry. Her 2011 book of art and cultural criticism, philosophically inclined subset of body-smeared literature back into prominence. The Art of Cruelty: A Reckoning was named a New York Times No- What else is there to write but the body?” This class is shaped by that same hope, and table Book of the Year and Editors’ Choice. Her other nonfiction will inquire into that “philosophically inclined subset of body-smeared writing.” To books include The Argonauts and the cult hit Bluets. Her poetry do so, we will look at examples of writing that engages problems of embodiment, has been widely anthologized. Her books of poetry include Jane: temporality, mortality, pleasure, and pain while also producing our own texts and A Murder, a finalist for the PEN/Martha Albrand Award for the discussing them. Art of Memoir, and Shiner, a finalist for the Poetry Society of America’s Norma Farber First Book Award.

OTHER READINGS Learn more about these events at hugohouse.org/upcoming-events

BLURRING THE LINES One session Friday, Jan. 22, 1–4 pm General: $95 | Member: $85.50

We’ll look at models from classical and contemporary literature that illustrate the CECILIA WOLOCH is the author of six collections of poems, most way borders between genres can be blurred to beautiful and powerful effect, then recently Earth (Two Sylvias Press 2014) and a novel, Sur la Route we’ll do some blurring of the borders in our own writing. A series of generative exer- (Quale Press 2015). An NEA fellowship recipient, she teaches cises will prompt the writing of prose poems, flash fiction, novels in verse, and lyrical independently throughout the US and around the world. nonfiction passages. Each participant will leave with three or four new pieces of writing, complete in themselves or seeds for longer works to be brought to fruition.

MAKING CHARACTERS FROM HISTORICAL FIGURES One session Friday, Feb. 19, 1–4 pm General: $95 | Member: $85.50

Bringing a historical figure to life in fiction is a little like biography, a little like her- ALEXANDER CHEE won a Whiting Award for his first novel, esy, and a little like witchcraft. It requires research as food for the imagination, but Edinburgh, and is a recipient of the NEA fellowship in fiction as fiction writers, we have to be in pursuit of details that biographers typically can’t and residencies from the MacDowell Colony, Ledig House, and use—and don’t mention. We’ll cover a variety of these methods, a research-based ap- Civitella Ranieri. His writing has appeared in the New York Times proach that makes appeals to the intuition and the imagination and teaches writers Book Review, Tin House, Slate, and on NPR. His new book is The to look around corners for what they need. Queen of the Night (Houghton Mifflin Harcourt).

2 PICK AN OBJECT, ANY OBJECT One session Saturday, Feb. 6, 1–4 pm General: $75 | Member: $67.50

Using remembered objects, we will challenge our usual approaches, broaden our KAMILAH AISHA MOON’s work has been featured in Harvard Re- lexicons, and wrestle with language in hopes of discovering new portals into mean- view, jubilat, the Awl, and Poem-A-Day for the Academy of Amer- ing—for ourselves and our readers. Through a series of writing prompts and the close ican Poets. She has been selected as a New American Poet by the study of poems by Yusef Komunyakaa, Victoria Redel, Martin Espada, and Marge Poetry Society of America, a Pushcart Prize–winner, and a finalist Piercy, we will explore strange, deeply affecting ways to say what we need to say to for the Lambda Literary Award. Moon is the author of She Has a those who matter most to us. Name (Four Way Books) and works as a teaching artist and mentor for Arts Corps, Youth Speaks Seattle, and the Service Board.

LETTING THE POEM SPEAK ITS SAY One session Saturday, Feb. 6, 1–4 pm General: $75 | Member: $67.50

Dig into the earth of our idea(s) or poem(s) in progress. Spit out secrets, inspect LIBRECHT BAKER is a Dembrebrah West African Drum & Dance comforts, show roots, or question the work’s pulse. Let the lineage, the backstory’s Ensemble member. MFA in Interdisciplinary Arts from Goddard backstory, encourage the poem’s purpose to arise. We will participate in lightweight College. VONA/Voices and Lambda Literary Fellow. Sundress stretching, engage contemporary writing, be encouraged to generate new work via Publications’ assistant editor. Poetry in Writing the Walls Down: A writing prompts, and share our words. Please come comfortably and bring your Convergence of LGBTQ Voices and CHORUS: A Literary Mixtape. writing materials.

OF PERSONA AND IMAGINATION One session Saturday, Feb. 6, 1–4 pm General: $75 | Member: $67.50

Released in 1966, Nina Simone’s Four Women was reviewed by Thalami Davis of AVERY R. YOUNG is a multi-displinary artist, Cave Canem alum The Village Voice, who stated the song was “an instantly accessible analysis of the and 3Arts Awardee whose work has appeared in The BreakBeat damning legacy of slavery, that made iconographic the real women we knew and Poets and other anthologies. His first full-length albumbooker t. would become.” This workshop examines persona writing and Afro-Mysticism, soltreyne: a race rekkid is available online. inviting participants to further engage the song’s theme and challenges by creating a fifth character. Participants should be prepared for movement.

THE TAROT OF CHARACTER One session Saturday, March 19, 1–4 pm General: $75 | Member: $67.50

We will examine the reading of tarot cards as a method in the construction of char- ABBY FRUCHT is a recipient of two National Endowment for the acter in fiction and nonfiction. There won’t be any tarot cards at hand, but we will Arts awards. She is a novelist, essayist, critic, and short story writer construct a meaningful appreciation of human nature and of the ways in which our who teaches at Vermont College of Fine Arts. At home in Wiscon- knowledge and recognition of events might help us to understand and illuminate the sin, she currently serves as a PEN/Faulkner judge. stories of the people who come alive in our writing. You may start new work or bring a story, chapter, or essay in progress.

WRITING ABOUT ANIMALS One session Saturday, March 19, 1–4 pm General: $75 | Member: $67.50

Throughout written history, depictions of animals have played many roles in LAURIE ALBERTS is the author of the craft bookShowing & Tell- prose—symbolic, movers of plot, characters, agents of transformation, and, recently, ing as well as four novels, two memoirs, and a story collection. bestowers of (usually saccharine) life lessons. We’ll discuss the possibilities and pitfalls of writing about animals, and students will engage in exercises to help them to write meaningfully and not sentimentally about the animals in their lives or the world around them.

3 Classes with Visiting Writers

MAKE THEM CRY AND MAKE THEM LAUGH One session Sunday, March 20, 10 am–2 pm, in partnership with APRIL Festival General: $95 | Member: $85.50

What does it really take to write something so uproarious, so perverse, so deeply JENNY ZHANG is a poet, writer and performer living in New felt, so majestically sad that it has the power to bring the reader to tears? We’ll spend York. She’s the author of the poetry collection Dear Jenny, We some time discussing the art of timing, set-up, build-up, characterization, context, Are All Find (Octopus Books) and a regular contributor to and how to profane the sacred and make sacred the profane when trying to construct Rookie. She will be visiting Seattle in March as APRIL’s 2016 and relate genuine comedy to genuine tragedy in fiction. We’ll discuss works by Writer-in-Residence. You can find her at jennybagel.com and on Junot Diaz, George Saunders, and Lorrie Moore and do several exercises. This class Twitter. will challenge you to move away from jokes and punchlines and drippy sentimentality and hone in on the interplay of pathos, sincerity, gravity, and levity in producing something truly tender and truly stirring.

ESTABLISHING AUTHORITY One session Sunday, April 3, 1–4 pm General: $95 | Member: $85.50

From the first sentence, we know if we are in confident, capable hands. The best writ- ROB SPILLMAN is editor of Tin House magazine and editorial ers establish authority immediately. There is a clear sense of control, which is earned advisor of Tin House Books. He was previously the book colum- with particular language, tone, detail, cadence, and by creating urgency—a simple nist for Details magazine. He has written for Nerve, the New York question of “Why should I keep reading?” We will look at successful and unsuccess- Times Book Review, Premiere, Rolling Stone, Spin, Sports Illustrat- ful openings, analyzing how the author has or hasn’t firmly captivated the reader. ed, Vanity Fair, and Vogue, among other magazines, newspapers, With the close readings, we will subject the texts to the same cold-reading standard I and online magazines. He has also worked for Random House, have at Tin House, where we receive upwards of 20,000 submissions a year. Vanity Fair, and the New Yorker.

VISION AND REVISION Six sessions Thursdays, Jan. 28–March 3, 5–7 pm General $245 | Member $220.50 Bill Hayward

In this revision-focused workshop we are interested in everything that happens after JUSTIN TAYLOR’s most recent book is Flings, a collection of the first draft. We will engage questions great (point of view, structure, endings, etc.) stories. His work has appeared in TheNew Yorker, Harper’s, Tin and small (sentence mechanics, line editing, etc.), with an eye toward becoming House, and Bomb. He lives in Portland, Oregon. stronger writers and critical readers. Each student will submit a story (5–20 pages) she has already put some time into, but has lately hit some kind of wall with. The workshop—with a bit of help from great writers of the past and present—will attempt to get her over said wall, and furthermore outfit her with strategies that should prove useful when she hits the next one, and the one after … Fiction GENERAL FICTION

WRITING FICTION THAT DARES Are your characters taking risks? Does your plot hold your reader’s heart? Does your dialogue sing? Do your with SONORA JHA scenes waltz along the page? Over these eight weeks, we will get into the nuts and bolts of what makes your fiction take flight and soar. Through readings, writing exercises, and workshopping, you will write at least Eight sessions one new chapter (or revise an existing one) and construct a map for your novel/short story that will keep you Wednesdays, Jan. 13–March 2, 5–7 pm powering through your work of fiction that dares. General: $245 | Member: $220.50

1000 WORDS A WEEK Each week we’ll write 1000 words using big-picture and fine-grain prompts. In class, we’ll lightly workshop with ANCA SZILÁGYI pieces, focusing on questions like “What creates energy in this story?” and “What do you want to know more about?” Stories may be part of a larger work or stand alone. We’ll also discuss writers’ thoughts on writing, Six sessions from classics like Anne Lamott’s “Shitty First Drafts” to newer essays like Rikki Ducornet’s “The Deep Zoo.” Thursdays, Jan. 14–Feb. 18, 7–9 pm Students will leave class with 5000 new words. General: $245 | Member: $220.50 THE FACT OF THE MATTER Writing fiction based in fact can be a daunting undertaking. How do you take the people, places, and events with NANCY RAWLES of the past and fashion a story that does them proud? How do you honor the facts without losing the truth at the heart of the fiction? Whether you’re writing a story that’s been with you awhile or working on some- Six sessions thing new, take some time to explore the art of marrying fact with fiction. Tuesdays, Feb. 23–March 29, 5-7pm General: $245 | Member: $220.50

SECRET INGREDIENTS Powerful fiction: you know it when you read it, but how do we write it? Students will examine work from FOR NEXT-LEVEL FICTION contemporary fiction masters, including Sherman Alexie, Denis Johnson, and Alice Munro. Then we’ll work with MEGAN KRUSE on the “secret ingredients” for emotional resonance—the specific techniques that can catapult a story into a work of art, including transcendent details, the Law of Threes, and importance of the ear. One session Saturday, Jan. 30, 1–4 pm General: $75 | Member: $67.50

SIX DEGREES OF SURREALISM “Now is not the time for realistic fiction,” Margaret Atwood said recently on NPR. We’ll look at methods with JARRET MIDDLETON used by a wide array of authors to subvert, negate, and depart from reality to introduce the strange and other- worldly into your work. Students will read and discuss samples before applying lessons to their own outlines Six sessions and drafts. Whether you don’t know where to begin or are midway through a work-in-progress, you’ll learn Mondays, Feb. 22–March 28, 7–9 pm the rules in order to break them. General $245 | Member $220.50

SHORT STORIES FICTION

BORGES: CREVICES OF UNREASON In “Avatars of the Tortoise,” Jorge Luis Borges describes the world as a “fabrication of the will,” a highly with JEFF ENCKE convincing hallucination that nevertheless retains “crevices of unreason” that hint at its falseness. In this course, we’ll examine how Borges tests this claim with works that examine the tenuous distinction between Six sessions the imaginative and real. There will be two or three short readings per week, including “The Library of Babel,” Saturdays, Jan. 16–Feb. 20, 10 am–noon “The Book of Sand,” “Funes, the Memorious,” and others. General: $245 | Member: $220.50

SHORT STORY WORKSHOP The short story remains arguably the best medium through which a fiction writer hones her craft, and in this with RAMON ISAO class that’s exactly our aim. Through lively discussions, engaging lectures, close readings, and nonthreatening workshops, we will become better, more disciplined writers. Students will submit two short stories to be Ten sessions carefully read and workshopped in a fun yet rigorous environment. Baked goods may occasionally be made Sundays, Jan. 17–March 20, 10 am–noon available. General $380 | Member $342

PRIZE-WINNING STORIES We will read six prize-winning stories from 2014 and 2015 from the O’Henry, Pushcart, and Best American with CORINNE MANNING anthologies. We will explore and discover trends that we notice or are broken, along with all the aspects that make these stories grab our hearts (or not). Rather than seeking to imitate, we will use this as an exploration Six sessions of our own tastes, and what we, as readers and writers, are being told is great writing. Tuesdays, Feb. 23–March 29, 7–9 p.m. General: $245 | Member: $220.50

YOUNG ADULT FICTION

LEVEL UP YOUR YOUNG ADULT NOVEL If you’re working on a draft or revisions of a young adult novel, this class will help you take it to the next with STEPHANIE KUEHNERT level. Our weekly discussions will hone in on how to get to the heart of your story, make your characters multidimensional and unforgettable, and build a plot that will keep readers turning pages. We’ll also cover Six sessions revision techniques—big picture to line edits—and you’ll have a chance to address your manuscript-specific Tuesdays, Jan. 26–March 1, 7–9 p.m. issues in small-group workshops. General: $245 | Member: $220.50

STARTING A YOUNG-ADULT NOVEL We will begin our day by looking at the openings of three to four diverse YA novels, among them John with JACQUELINE KOLOSOV Green’s The Fault in Our Stars, Gayle Forman’s If I Stay, Nina LaCour’s Hold Still, and/or Libba Bray’s A Great and Terrible Beauty. We’ll weave craft issues into the discussion, concentrating on character One session development and voice. You will leave with a number of prompts for getting started. Sunday, Feb. 7, 10 am–2 pm General: $95 | Member: $85.50

5 Nonfiction GENERAL NONFICTION

THE YOU REVIEW OF BOOKS Do book reviews matter in the age of GoodReads and Amazon customer reviews? The Seattle Review of Books with PAUL CONSTANT & co-founders Paul Constant and Martin McClellan think so: they say book reviews should be beautiful pieces MARTIN MCLELLAN of writing in response to beautiful pieces of writing. They’ll explore what makes a great review by providing examples and plenty of exercises and advice for how to read, think about, and write compelling, engaging, Six sessions and intelligent reviews. Their goal is nothing less than training future writers for their website and inspiring Thursdays, Jan. 14–Feb. 18, 7–9 pm writing about books everywhere in the world. General: $245 | Member: $220.50

WRITING ABOUT THE ENVIRONMENT We will use the techniques of literary journalism to write about topics with a nature/environment focus. We with GAIL FOLKINS will take cues from Edward Abbey, Terry Tempest Williams, Rick Bass, and Louise Erdrich, who explore a connection between their lives and the environment, from personal to political. Through a combination Six sessions of reading discussions and writing workshops, we will discuss best practices and research methods, from Tuesdays, Jan. 19–Feb. 23, 5–7 pm interviews to archives. Every writer will compose two pieces—one short personal piece, and one longer essay General $245 | Member $220.50 integrating research. We will also discuss publication opportunities.

BRAIN TRUST: This class is for memoir/nonfiction writers who have a story to tell that has something to do with the brain: WRITING ABOUT THE BRAIN either the writer’s own or that of someone he or she loves or both. We’ll use passages by authors who’ve with ANN HEDREEN traveled this terrain as well as in-class prompts and at-home assignments to get the flow going. As we read and write, we will focus on metaphor, reflection, selection of detail, richness of voice, and how these elements can Four sessions be deployed in writing about the brain. Saturdays, Jan. 30–Feb. 20, 1–3 pm General: $200 | Member: $180

FINDING THE REAL SUBJECT Got an itch but don’t know where to scratch? Have an idea but don’t know if it’s what the essay or memoir is with CHRISTINE HEMP really about? This class is for those floundering around subject matter they love but can’t seem to get written. Using established writers’ work and in-class writing, we will write our way into the true generating subject. Two sessions Come prepared for surprise. All levels of writers welcome. Sat–Sun, Jan. 30–31, 10 am–4 pm General: $245 | Member: $220.50

TELLING TRUE STORIES We’ll hone fifteen tools for improving the lyric and narrative qualities of our prose, drawn from my anthology with WENDY CALL Telling True Stories: A Nonfiction Writers’ Guide. This workshop offers strategies for facing the blank page, sharpening your sentences, and seeing a long writing project through to completion. We’ll spend equal One session portions of our time completing writing exercises and considering examples from master word-workers: Sunday, Feb. 7, 1–5 pm Sandra Cisneros, Elizabeth Gilbert, Stephen Kuusisto, George Orwell, and Sei Shonagon. General: $95 | Member: $85.50

NONFICTION STARTUP Come with a shiny new idea or a clunky third draft, and we’ll get your project moving forward. Class with ERIN SROKA exercises will include strategies for focusing in on the core of your story as well as developing your draft with clarity and purpose. We’ll discuss the basic elements of creative nonfiction, such as character, voice, and Eight sessions scene, and practice using them as tools for telling stories. We’ll read leading nonfiction voices for inspiration Thursdays, Jan. 21–March 17, 7–9 pm and hold a workshop for gathering feedback. No class Feb. 11 General: $325 | Member: $292.50

ESSAYS NONFICTION

ALTERNATIVE FORMS Sometimes our personal material is elusive, fragmentary, or obscured by our emotional response to it. We IN PERSONAL ESSAYS can represent this beautiful chaos by creating an indirect, meandering way into the essay or book. These ways with SONYA LEA may include alternating voices or themes, such as music, nature, history, relationships, and more. Braided essays allow the personal to expand outward. The parts create the illusion of wholeness, and perhaps a more Two sessions satisfying truth. We’ll look at disjunctive, segmented, and sectioned works. Generative writing and craft Fri–Sat, Jan. 22–23, 1–4 pm exercises included. General: $150 | Member: $135

THE MOST PERSONAL ESSAY We’ll study, write, and workshop short essays that delve deeply into the first-person POV, focusing on with NICOLE HARDY structure, narrative voice, and scene in order to cultivate vulnerability without self-indulgence, pathos without sentimentality, sharing without oversharing. Students will receive one-on-one editorial advice as well Eight sessions as critique from fellow students as they prepare essays to submit for publication. Open to writers of all levels. Mondays, Jan. 11–March 7, 7–9 pm No class Feb. 15 General: $325 | Member: $292.50 MEMOIR NONFICTION

MEMOIRS AROUND THE WORLD We will explore the work of memoirists from all over the world who have grappled with universal with ERIN GILBERT themes such as childhood, education, love, work, family, and death. Through close readings and weekly discussions, we will investigate the diversity of structures and styles that can be found in Six sessions literature-in-translation. Weekly workshops will provide an audience for students incorporating similar Fridays, Jan. 15–Feb. 19, 7–9 pm experiments with structure and style, while writing prompts will allow novices to develop new ideas and General: $245 | Member: $220.50 challenge seasoned writers to slip the restraints of dull drafts.Held at El Centro de la Raza.

MAKE A SCENE! This course will cover all memoir craft elements with a special focus on writing vibrant scenes. Students will with TARA HARDY learn how to pull readers so close to the moment they feel encapsulated by story. Heighten the artistry of your book via inventing unique image patterns, increasing narrative tension, writing potent characters, rendering Six sessions vivid setting, and taking new and interesting risks with language. This class will use a workshop setting, and Wednesdays, Jan. 13–Feb. 17, 5–7 pm students will have the opportunity to receive feedback from the teacher on their work at least once. General: $245 | Member: $220.50

THE GOOD, THE BAD, AND THE UGLY The best memoirists delve deeply into their most vulnerable moments, their most humiliating flaws, their with SUZANNE MORRISON gravest regrets—and we love them for it. Memoirs focused exclusively on the sins of others get thrown across the room. We’ll look at how to cultivate the honesty and courage required to dive into our weaknesses. We’ll Six sessions read and discuss excerpts from great memoirs and do a boatload of generative writing. How do we explore our Thursdays, March 3–April 7, 5–7 pm worst selves without alienating the reader? And, perhaps harder, how do we explore our good sides? Come General $245 | Member $220.50 with an idea for a story or situation you’d like to explore in your writing.

MEMOIR ESSENTIALS We will discuss the essential elements of memoir writing: how to create scenes that move your story forward, with THEO NESTOR how to use summary and reflection effectively, how to narrow your topic and structure your narrative. This class will also include numerous material-generating activities that will help you hone in on the story you One session need to tell and develop the voice in which to tell it. Saturday, Feb. 27, 1–5 pm General: $95 | Member: $85.50 Multigenre FICTION, NONFICTION, & POETRY MULTIGENRE

ART AS A POINT OF DEPARTURE What is the difference between using art as a point of departure and using ekphrastic writing—writing that with DEBORAH POE describes artwork? What happens if you use different mediums—film, other books, sound art—to inspire writing? We’ll reflect on the use of art as an instigator of new work. We will also contemplate how the joining One session of ideas, research, artists’ ideas, and a focus on various mediums can produce different kinds of pieces than Saturday, Jan. 23, 1–4 pm straight ekphrastic poetry. All levels. General: $75 | Member: $67.50

USING OUR SENSES—DOZENS OF THEM Writers are often told to “use sensory detail” in their writing—to include visual, auditory, olfactory, and with WENDY CALL tactile information in our prose and poetry. But experimental psychologists actually recognize dozens of different types of human perception. They range from pain and muscular tension to compass position and the One session emotional state of a group. We’ll explore a couple dozen of these “perceptics” and learn how they can give our Saturday, Feb. 20, 1–5 pm readers a deeper sense of “being there.” General: $95 | Member: $85.50

GIVING YOUR WRITING As in music and visual art, silence and empty space play important but often under-appreciated roles THE SILENT TREATMENT in writing. Silence contributes to rhythm, suspense, tone, and reader engagement. Learn to identify with DIANNE APRILE techniques to strengthen your prose, poetry, and playwriting with virtual silences, visual breaks, and narrative interludes. We’ll discuss examples from literature to see how what’s left unsaid can be as critical as Six sessions what’s spoken. Emphasis on in-class writing from prompts and workshopping of one assigned piece of writing Thursdays, Feb. 25–April 14, 7–9 pm per student. This class takes place at Good Shepherd Center. No class March 17 & 31 General: $245 | Member: $220.50

THIRTY WAYS TO TELL A STORY We’ll move through thirty freewriting exercises, searching for the best way to anchor words to the page. If 8 with WENDY CALL there’s a story (factual or otherwise) you’ve been itching to tell, or a poem prowling your mind, this is your chance. Multimedia writing prompts—questions, answers, lines of poetry, images, stray words, scents—will One session help us open the dusty drawers of memory and imagination. Each participant will leave with the raw material Saturday, March 5, 1–5 pm for a new story, essay, or poem series. 7 General: $95 | Member: $85.50 SUN CREATURES: SENSORY EXPLORATION Drawing on techniques of synesthesia, movement, sensory immersion, myth-making, and eco-poetics, we’ll with SIERRA NELSON & MELANIE NOEL explore what new creatures of the sun we attract with our heliotropic experiments. Perhaps you want to create a setting for your novel, embellish the atmosphere of an essay or poem, or begin moving in a field of sensory One session language to create new work. No matter your starting place, by the end you’ll go home with new written work Saturday, March 12, 1–4 pm and a more vibrant appreciation of the sensory world. General: $75 | Member: $67.50

WRITING WITH SCIENTIFIC THOUGHT Spend an afternoon using science to inform and inspire your writing. We’ll examine model writers like Arthur with DEBORAH POE Sze, Bernadette Mayer, Primo Levi, Italo Calvino, and Andrea Barrett, exploring ways in which scientific thought can be used as a launching pad for creative writing and how scientific terms and concepts help One session generate new poetry and prose. We will draft new material from class prompts and will share and discuss Saturday, Feb. 27, 1–4 pm strengths of that new work. This class is appropriate for all levels. General: $75 | Member: $67.50

FICTION & NONFICTION MULTIGENRE

DEAR : EPISTOLARY WRITING You’ll experience the liberating effects that epistolary writing can have on your voice. The class will take into WORKSHOP consideration the aesthetic qualities of storytelling, the direct address of letter writing, and the necessary with ARISA WHITE rhetorical devices to express your unspoken truth. Mindfulness activities, generative writing exercises, discussion of published letters by such writers as James Baldwin and Alice Walker, and peer critique will help Two sessions to guide you through the composition of your own epistle. Sat–Sun, Feb. 20–21, 1–4 pm General: $150 | Member: $135

POINTS OF VIEW Write six stories (or one story told six ways) to explore point of view. Try out first-, second-, and third-person with WAVERLY FITZGERALD narrators, as well as more subtle choices like the unreliable narrator, retrospection, omniscience, and shifting points of view. For fiction and nonfiction writers. Six sessions Wednesdays, Jan. 13–Feb. 24, 7–9 pm No class February 10 General: $245 | Member: $220.50

A FIELD RESEARCHER’S GUIDE We will learn to infuse narrative with lyric accuracy through careful study of the world around us. Guided TO AUTHORITATIVE STORYTELLING by fiction and nonfiction authors who take deep dives into their subjects, we will produce new writing and with KRISTEN MILLARES YOUNG workshop at least one piece from each participant. Readings will include Joan Didion, Karen Tei Yamashita, Richard Flanagan, Annie Dillard, and Eula Biss. Remember: research carries a story like water beneath a boat. Ten sessions Keep it moving to stay afloat. Thursdays, Jan. 14–March 17, 7–9 pm General $380 | Member $342

ROUGHING IT To paraphrase Anne Lamott in Bird by Bird, even the most successful writers produce crappy first drafts. with REBECCA AGIEWICH So why not write it fast and get it over with? We’ll write complete first drafts of novels or memoirs. We’ll alternate between lessons in story structure and character and in-class writing exercises. The class is geared Eight sessions toward beginning fiction writers, but memoirists and writers of all levels are welcome. Individual conference Thursdays, Jan. 14–March 3, 5–7 pm with teacher included. Required text: Writing for Story, by Jon Franklin. General: $325 | Member: $292.50

READING LIKE A WRITER Before the advent of the writing workshop, writers learned their craft by closely reading the work of those with JOAN LEEGANT who had mastered the form. How do good writers make us care about their characters and their fates, their situations and stories? What do they do so their narratives transport us and provide pleasure? Together we Four sessions will look at short published works—fiction and personal essays—and consider everything from the skeleton Mondays, Jan. 18–Feb. 8, 7–9 pm of their structures to the skin of their sentences. General: $200 | Member: $180

SATIRIZE YOUR LIFE We live in a golden age of satire; all the major institutions of American life present ripe targets for with BRETT HAMIL lampooning. Students will apply the heightened reality of comedy to the subcultures, customs, and personalities in their own areas of expertise. We’ll discuss the underlying ethics and ideologies of satire and Six sessions look at contemporary examples from George Saunders to The Daily Show to the Onion, then workshop ideas Tuesdays, Jan. 26–March 1, 5–7 pm and generate our own stories, essays, or scripts. General: $245 | Member: $220.50

MEMORY AND IMAGINATION Stuart Dybek once said, “In fiction, my allegiance is to imagination. In memoir, it’s to memory.” In this class, with KATE LEBO & SAM LIGON we’ll read, write, and workshop short pieces of fiction and nonfiction in an attempt to discover where we find our strongest material. When we write fiction and nonfiction, are we different writers? Between memory and Two sessions imagination, where do our allegiances lie? Since memory itself is an act of imagination, how does fiction or Sat–Sun, Jan. 30–31, 1–4 pm nonfiction best serve our struggle to create meaning? General: $150 | Member: $135 CAPITALISM AND WRITING The goal of this class is to provide literary writers with a basic introduction to the main themes and concerns with CHARLES MUDEDE of the “dismal science,” economics. Because we live in a world that’s dominated by these ideas, it is important for writers not only to be aware of them and their social implications but also to see how they might influence Six sessions our thinking and writing. We are all economic animals, whether we like it or not. We will explore the ideas of Mondays, Feb. 22–March 28, 7–9 pm scribblers like Thomas Piketty, Joan Robinson, and Karl Marx, and there will be three writing workshops to General: $245 | Member: $220.50 distill our economic frenzies into elegant prose and poems.

THE BUILDING BLOCKS OF NARRATIVE Let’s talk fundamentals. This mixed-genre course covers the essential elements of storytelling and will help with IRENE KELIHER lay the foundations for a strong short story or personal essay. From plot to point-of-view, each class explores a key building block of narrative. Guided by engaging prompts, discussion, and readings from writers like Anne Six sessions Lamott, David Sedaris and Junot Díaz, you’ll generate raw material and leave inspired to keep writing. You’ll Saturdays, Feb. 20–March 26, 10 am–noon also have the opportunity to share work in a supportive environment. Beginners welcome! General: $245 | Member: $220.50

RECOGNIZING YOUR CHARACTERS Using contemporary psychoanalysis as our guide, we’ll investigate works from Virginia Woolf, Philip Roth, with MARGARET CRASTNOPOL and Maria Semple to discover what makes their characters so vivid, instructive, and often therapeutic for readers. Using cutting-edge analytic concepts like narcissistic injury, attachment, psychic structure, and Two sessions micro-trauma, we will examine how to think and write about a self ’s particularities. If you have a character Saturdays, Feb. 20–27, 1–4 pm study started, real or fictional, bring it to class to be explored with an eye toward deepening and complicating General: $150 | Member: $135 the portrayal of a self.

FREE YOUR VOICE, THROW YOUR VOICE The main task of any writer in any form, writes Peter Elbow, is to win the reader’s trust. Voice is how we earn with MARY POTTER that trust, yet we struggle to find our voice and to throw it like a ventriloquist. We’ll read compelling voices to learn how they work, analyze our own voice, and play with voice in class and at home. Free your voice, Six sessions generate new work, breathe new life into work in progress, have fun writing—and along the way learn how to Wednesdays, Feb. 24–March 30, 7–9 pm write a great opening. General: $245 | Member: $220.50

WRITING DIALOGUE Dialogue is one the quickest and most effective ways of characterizing someone. Good dialogue with NICHOLAS O’CONNELL provides information as it illuminates character. This class will explain how to set up a dialogue, individuate the speakers, add gestures and body language, and conclude it in such a way that dialogue One session advances the story, whether in fiction, nonfiction, poetry. Class includes lecture, discussion, and writing of a Saturday, March 12, 1–4 pm dialogue scene. This class takes place at University Heights. General: $75 | Member: $67.50

SENTENCES ARE THE STORY There’s no such thing as the “good-enough sentence.” If your sentences aren’t crafted to tell your particular with MARY POTTER story or essay, they’re just getting in the way. Learn how to build sentences that grip the reader, evoke tone, deepen mood, reveal character, advance plot, and help a narrative breathe. You’ll complete lots of writing One session exercises to learn how to play with the sentence and master it so it serves a specific purpose. Bring a sample of Saturday, March 26, 1–4 pm your prose to first analyze and then revise your sentences. Warning: You may fall in love with the sentence. General $75 | Member $67.50

GRAPHIC FORMS MULTIGENRE

MAKING MINICOMICS The minicomic is the most elemental form of the comic book. Its short-story structure makes it accessible to with EROYN FRANKLIN create and print for any writer. This class walks you through formal qualities of minicomics—story building, creating characters and worlds, and drawing techniques—so that students can create a minicomic and learn Six sessions how to distribute it once it’s done. Some exercises will generate work that will be compiled into a class Thursdays, Jan. 14–Feb. 18, 5–7 pm anthology, and everyone will walk away with copies of each book created in the class. General: $245 | Member: $220.50

COMICS: TAKING IT TO THE NEXT LEVEL You’ve written and drawn a few (or several) pages of comics, and you’re thinking it’s time to take on some new with DAVID LASKY & GREG STUMP challenges and build on what you know. Two expert cartoonists are ready to teach you some new techniques and push your comics in exciting new directions. You’ll work on developing your characters and building the Six sessions world in which they live. Expect some intense but very fun sessions resulting in a multi-page story. Saturdays, Jan. 23–April 2, 10 am–noon This class meets every other week General: $245 | Member: $220.50

DRAMA MULTIGENRE

SCREENWRITING & FILMMAKING Spend eight weeks at Hugo House learning the basics of the screenwriter’s art. The class will look at examples FUNDAMENTALS from films such asChinatown , The Thing, and Raising Arizona, and do in-class writing that includes feedback with MICHAEL SHILLING & on screenplay ideas. The following eight weeks will be spent at Northwest Film Forum receiving hands-on NORTHWEST FILM FORUM training with camera, audio, light, and editing equipment. Students will acquire the skills to independently write and make professional films. Sixteen sessions Jan. 19–March 8, 7–9 pm All basic film equipment will be provided in class. Students can also bring their own equipment. If you have a March 15–May 3, 6:30–9:30 pm laptop and Adobe Premiere Pro CC and would like to use it in class, please email [email protected]. General: $885 | Member $796.50 9 Poetry

WRITING ALONGSIDE LOCAL POETS In this class, we’ll draw inspiration from the notion that poetry begins at home by writing alongside, and with DEBORAH WOODARD visiting with, four local poets: Quenton Baker, Priscilla Long, Melanie Noel, and Anastacia Tolbert. These “close-to-home” encounters will help us begin to understand the range of perspectives that create the Six sessions intellectual and aesthetic world of Seattle in the present moment. We’ll consider different takes on being Saturdays, Jan. 9–Feb. 13, 10 am–noon productive practicing poets—not just on the page but out in the world, as well. General: $245 | Member: $220.50

MASTER WORKSHOP IN POETRY The aim of this poetry workshop will be to help the students, regardless of age or previous experience, work with DAVID WAGONER 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 Ten sessions be critiquing each other’s poems. The instructor will try to help reinforce the connections between sound, Sundays, Jan. 10–March 13, 10 am–noon rhythm, and meaning and will make a number of suggestions about working methods, revision, and self- General: $380 | Member: $342 criticism.

GENERATING POETRY Through a series of targeted exercises and by reading an array of poets, we’ll work on generating new poems. with JUDITH ROCHE Along the way, we’ll discuss the elements of poetry (phanopoeia, melopoeia, and logopoeia) and issues of craft. This is a writing and talking class more than a reading class. Our goal is to have several completed poems Six sessions by the end of the class and a number of poem starts, ideas, and inspirations to work at later. All experience Tuesdays, Jan. 5–Feb. 16, 7–9 pm levels welcome. General: $245 | Member: $220.50

POETRY AS SÉANCE We’ll explore how innovative contemporary writers are using hybridity, erasure, collage, and other with KRISTINA JIPSON experimental tactics to bridge the gap between the living and the dead. We will read and discuss literary séances by Susan Howe, M. NourbeSe Philip, Rusty Morrison, Claudia Rankine, Anne Carson, and others. Eight sessions Students will be given exercises to help them draw inspiration from these unusual pieces, and we will devote a Wednesdays, Jan. 13–March 2, 7–9 p.m. portion of each class to workshopping and exploring future directions for this generative writing. General: $325 | Member: $292.50

UNDER THE INFLUENCE “I don’t like teaching,” was how Elizabeth Bishop began her legendary workshops at the University of OF ELIZABETH BISHOP Washington, “but we’ll practice a most useful poetic strategy—writing in form.” In this workshop modeled with CAROLYNE WRIGHT on her example, we’ll read poems by Bishop, Weldon Kees, Maxine Kumin, Marilyn Hacker, and younger neo-Formalists; explore how form helps poets achieve surprising leaps in their language; try received forms Six sessions like pantoum, sestina, sonnet, triolet, and villanelle and nonce forms like anaphora and abecedarian; and Saturdays, Jan. 23–March 5, 10 am–noon complete a group of poems in form. No class Feb. 13 General: $245 | Member: $220.50

GREAT LOVE POEMS On Valentine’s Day, we will recount the perpetual past of love poetry, greeting its mythic pulse on the page. with EJ KOH Our senses will come alight by love poems both renowned and less renowned to find the beginnings, and, at times, the ends of desire. With poets like Muriel Rukeyser, Li-Young Lee, Pablo Neruda, and others, love is a One session sexy oppression or surrender. We will also write love poems of our own! Sunday, Feb. 14, noon–3 pm General: $75 | Member: $67.50

SPLICE: POETRY AS NAVIGATION Students will read Octavia Butler’s Parable of a Sower and Ntozake Shange’s For Colored Girls. In addition, with IMANI SIMS students will use these texts to discuss how poetry serves as a navigation tool for readers and creates a pattern for the reader to rely upon while digesting the text. Finally, students will use themes from both texts to Six sessions generate new poems. Discussion around marginalized identities, trauma, and body politics may occur. Thursdays, Feb. 18–March 31, 5–7 pm No class March 10 General: $245 | Member: $220.50

YOUR FIRST POETRY BOOK You have written a group of poems or have begun thinking of your first poetry book. Alongside a poet with EJ KOH currently in the process of publishing a first book, the class will tackle structural and narrative themes while generating new poems to grow your collection. Expect to dive into discussion and brave new ideas, challenge Six sessions your poems, and emerge with both courage and knowledge to complete your first book. Thursdays, Feb. 24–March 30, 7–9 pm General: $245 | Member: $220.50

READY, SET, CHARGE! Are you ready to re-charge or season your writing life, style, genre, and creativity? You’ll be given six writing with ANASTACIA TOLBERT prompts (two per class) during the first three sessions; in the last three weeks we will focus on revision and presenting your work to an audience. Feel free to bring current pieces to class! For all levels. Six sessions Wednesdays, Feb. 25–April 7, 7–9 pm No class March 31 General: $245 | Member: $220.50 TRIGGER WARNING: READING We’ll examine how historical and contemporary poets use strong language and adult situations in their work AND WRITING DISTURBING POEMS in order to capture the range, as well as the depth and passion, of human feeling. We’ll follow their examples with JOHNNY HORTON in an atmosphere of mutual respect. Authors we’ll read include Archilochos, Sappho, Catullus, Ovid, Shakespeare, John Keats, Lord Byron, William Butler Yeats, Claude McKay, Dorothy Parker, James Wright, Six sessions Richard Hugo, James Merrill, Frank O’Hara, Carolyn Forché, Kim Addonizio, Sandra Beasley, Eduardo Saturdays, Feb. 27–March 2, 10 am–noon Corral, Josh Bell, Dora Malech, and Roger Reeves. Students will leave with half a dozen new poems. General: $245 | Member: $220.50

WRITING ALONGSIDE FRANK STANFORD This class is devoted to an in-depth exploration of the incandescent and exuberant work of Frank Stanford, with DEBORAH WOODARD who wrote in many forms, both short and long, and whose collected poems have recently been published by Copper Canyon Press. A master of voice and narrative, often in an intensely lyric mode, Stanford gives us Six sessions the opportunity to study with one of our native greats. What About This: Collected Poems of Frank Stanford Saturdays, March 12–April 16, 10 am–noon (Copper Canyon) will be available at a bookstore TBA. General: $245 | Member: $220.50

DISFIGURATIONS Andy Warhol painted the front page of the newspaper every day, distorting the images until they felt more with JILL LEININGER true. In this one-day workshop, we’ll investigate the power (and danger) of exaggeration in poetry—and use a few visual-art techniques to view our own figures from more radical angles and heights. Bring one or two One session news stories and one unrelated poem to class. We’ll write from that source material and, if all goes well, fall off Sunday, Feb. 7, 10 am–1 pm the edge together. General: $75 | Member: $67.50

The Writing Life

FROM IDEA TO PROPOSAL TO SALE! Do you have an inkling of an idea for a nonfiction book? Have you wondered how to crystalize into a project with NEAL BASCOMB you feel worth writing--then take it through proposal and sale to a publisher. We all have stories to tell, but purposeful inspiration and the mechanics of how to bring the right idea, in the right form, to the right Six sessions people, is an entirely different universe. In a workshop style of class, former NY editor, literary agent--and Mondays, Jan. 11–Feb. 15, 7–9 pm now writer--Neal Bascomb will help you chart your way. General: $245 | Member: $220.50

BRAINSTORMING It’s a question that can leave any writer paralyzed: “Where do I start?” In this six-week class, we’ll explore the with DAVID SCHMADER best method of finding the answer via the chaotic and completely necessary process of brainstorming. At the core of the class: a strategic method of interrogation designed to help you find the heart of your story and Six sessions speed you on your way to getting it on the page. Thursdays, Feb. 25–March 31, 7–9 pm General: $245 | Member: $220.50 12 LEGAL CONCEPTS The goal of this seminar is to provide an overview to authors regarding legal concepts that affect writers, both WRITERS NEED TO KNOW while they are writing and once they’re finished writing. Many writers may be intimidated by the seemingly with CLELIA GORE complex legal concepts and contracts, but acquiring even a little bit of knowledge about these topics is empowering and will help writers be savvier and become better advocates for themselves. One session Saturday, Feb. 20, 1–5 pm General: $95 | Member: $85.50

DEMYSTIFYING PUBLICATION Sylvia Plath wrote, “Nothing stinks like a pile of unpublished writing,” but how do you move your work with MEGAN KRUSE from the desk to the world? What’s an agent, and do you need one? In this course, we demystify the new world of publishing. We’ll explore publishing options, including self-publishing, hybrid, small press, and big One session publishing. We’ll talk about the specific steps necessary to submit your work, and what you can expect both Saturday, Feb. 27, 1–4 pm personally and financially. You’ll leave with resources for submission and a query draft you can use to start General: $75 | Member: $67.50 getting your work into the world.

INDIE PUBLISHING 101 Are you considering all of your options for getting your writing out to readers? Two authors who are also with WAVERLY FITZGERALD publishers will describe various ways you can publish your work, both in print and in e-versions. We’ll share tips and tricks of the trade for making your writing available and for finding your reading audience. You One session will come away from this three-hour workshop with an action plan and access to tools and resources to Saturday, March 5, 1–5 pm implement it. General: $95 | Member: $85.50

11 COLLABORATING WITH AN EDITOR Getting ready to share your writing in public? Then it’s time to work with an editor, even before submitting with ANNIE PEARSON to an agent. A good editor can advance your writing in challenging and insightful ways. In this class, we’ll practice self-editing techniques; understand stages of editing, whether working with editors or beta readers; One session and learn to budget, interview, and hire an editor for a successful editorial collaboration. Bring twenty to Saturday, March 19, 1–4 pm twenty-five pages of your manuscript for in-class exercises. General: $75 | Member: $67.50 Tee ns

A CREATIVE WORKSHOP This is a workshop about joy and discovery. We’ll take a look at the work of artists as diverse as James Tate, FOR YOUNG WRITERS Bianca Stone, Federico Fellini, and Flannery O’Connor. Students will be encouraged to see their unique with COLLEEN BERRY visions as writers and to develop their individual voices through experimental prompts and a supportive workshop environment. Each student will workshop two pieces of writing and will walk away with at least Six sessions two new, polished pieces in a genre of their choice. See hugohouse.org for dates and times General: $245 | Member: $220.50

About Our Teachers xRebecca Agiewich is the author of BreakupBabe: A Kensington) and one nonfiction book,Slow Time. She noted in 2012’s Best American Essays. She earned her Novel and writes regularly about outdoor adventure in the writes about seasonal holidays and urban nature. MFA at Bennington College. Northwest. She is currently at work on a middle-grade novel. Gail Folkins is the author of two creative nonfiction Ann Hedreen is the author of a memoir, Her Beautiful books, her most recent an environmentally themed Brain, and a contributor to many publications, including Dianne Aprile is an Artist Trust fellow, Hedgebrook memoir titled Light in the Trees (Texas Tech University the Wall Street Journal, the Seattle Times and Minerva alum, and faculty member at Spalding University’s MFA Press). Her essay “A Palouse Horse” was a Notable Essay Rising. Films include Quick Brown Fox: an Alzheimer’s program. She writes essays, poetry, and nonfiction books. in The Best American Essays 2010. Story and Zona Intangible, forthcoming in 2016. Most recently, she edited and contributed to The Book, a fine-art collection of photographs, poetry, and prose. A Eroyn Franklin is a comics artist, illustrator, and Christine Hemp has aired her poems and essays on former jazz-club owner and journalist, she’s a founding creative director of Short Run Comix and Arts Festival. NPR’s Morning Edition. Her awards include a Harvard board member of Eastside Writes. She has written two graphic novels: the Xeric Award– University Conway Award for Teaching Writing, an artist winning Another Glorious Day at the Nothing Factory, Trust Fellowship for Nonfiction, and an Iowa Review Neal Bascomb’s books have been optioned for film, and Detained, which is permanently exhibited at Inscape Award for Literary Nonfiction. Her poetry collection, featured in several documentaries, and been translated in Seattle. That Fall, was published in 2011, and she has just finished over ten languages. He has also written for the New York a memoir called SAFE. She teaches nonfiction and poetry Times, Wall Street Journal, and Los Angeles Times. Erin Gilbert is an accomplished critic, essayist, fiction at the University of Iowa Summer Writing Festival. writer, and poet whose work appears in AGNI, Bitch Wendy Call has been writer-in-residence at twenty-two Magazine, Brevity, Ilanot Review, and Structo. She is Johnny Horton directs the University of Washington’s institutions, including Hugo House. She co-edited Telling assistant editor at Asymptote, an instructor at Green River summer creative writing program in Rome. He’s received True Stories, and her book No Word for Welcome won Community College, and an amateur aerialist. a Washington Artist Trust GAP grant and he’s published Grub Street’s 2011 National Book Prize for Nonfiction. poems in Los Angeles Review, CutBank, Notre Dame She teaches at Pacific Lutheran University. Clelia Gore is a literary agent who heads the children’s Review, Willow Springs, and Poetry Northwest. division of the Seattle-based agency, Martin Literary Paul Constant is the co-founder of the Seattle Review Management. Clelia represents authors of fiction and Ramon Isao is a recipient of the Tim McGinnis Award of Books. He edited the Stranger’s book coverage for seven nonfiction picture, middle grade and young adult books. for fiction, and his work has appeared in theIowa years. He’s also published reviews for outlets including Prior to her career as an agent, she worked as an attorney Review, American Reader, Ninth Letter, and Hobart. His Literary Hub, the Progressive, and alternative weeklies in Manhattan. screenplays include ZMD, Junk, and Dead Body. around North America. Brett Hamil is a columnist and cartoonist for City Arts Sonora Jha is author of the novel Foreign, published in Margaret Crastnopol, PhD, is on the faculty of the Magazine and editor of EncoreArtsSeattle.com. He’s a 2013 by Random House India, and an associate professor Seattle Psychoanalytic Society and Institute, and of the nationally touring standup comic and filmmaker whose of journalism and media studies at Seattle University. W.A. White Institute in New York. She is an associate sketches and political commentary videos have received Formerly a journalist in India and Singapore, her recent editor of Psychoanalytic Dialogues and is on the editorial hundreds of thousands of views on YouTube. He hosts political essays and Op-Eds have been published in the board of Contemporary Psychoanalysis. She is the author a local political comedy talk show, The Seattle Process New York Times, the Seattle Times, Seattle Weekly and of Micro-trauma: A Psychoanalytic Understanding of with Brett Hamil, at Northwest Film Forum. He lives on the Globalist. Apart from her academic and journalistic Cumulative Psychic Injury. Beacon Hill with his wife and two weird-looking dogs. writing, she is currently finishing work on a memoir.

Jeff Encke taught writing and criticism at Columbia Tara Hardy is the working-class queer femme poet who Kristina Jipson’s first book,Halve , won the Tupelo University. His poems have appeared in American Poetry founded Bent, a writing institute for LGBTIQ people in Press First/Second Book Award. She is the author of Review, Barrow Street, and Black Warrior Review, among Seattle. She’s taught creative writing for fourteen years, two chapbooks: Lock, Means, published by Dancing Girl others. In 2004, he published Most Wanted: A Gamble and she’s served as the Hugo House writer-in-residence. Press, and How Void of Miracles, published by Hand Held in Verse, a series of love poems addressed to Iraqi war Her first full-length book of poems,Bring Down the Editions. criminals printed on a deck of playing cards. Chandeliers, was published by Write Bloody Press. Irene Keliher has taught all ages as a teaching artist Waverly Fitzgerald is a writer, teacher, and publisher. Nicole Hardy’s memoir, Confessions of a Latter-Day and English professor. Her work appears in the Millions, She has written fourteen novels (eight published Virgin, was a Washington State Book Award finalist. Her the Weeklings, Salon, Calyx, and elsewhere, and has won by traditional publishers including Doubleday and nonfiction has been adapted for radio and the stage and the Tobias Wolff Fiction Award and the Pearl Editor’s 12 Prize, among other awards. Press, and was the founding editor of Dark Coast Press, the creative director of the award-winning nonprofit an independent publisher based in Seattle. writing center for kids The Greater Seattle Bureau of EJ Koh has appeared in TriQuarterly, Southeast Review, Fearless Ideas. Columbia Review, and was featured in Flavorwire’s Suzanne Morrison is the author of Yoga Bitch: One “People Who Make You Care About Poetry.” She has Woman’s Quest to Conquer Skepticism, Cynicism and Michael Shilling is the author of Rock Bottom, a novel accepted fellowships at Kundiman, MacDowell Colony, Cigarettes on the Path to Enlightenment, a memoir based published by Little, Brown. The musical adaptation of and Vermont Studio, and earned her MFA at Columbia on a long-running one-woman show of the same title. the book, which he co-wrote, was staged in 2014 by the University for poetry and translation. Landless Theater Company as part of the DC Fringe Charles Tonderai Mudede is a Zimbabwean-born Festival. His stories have been published in the Sun, Jacqueline Kolosov has written four young-adult writer, filmmaker, and cultural critic who writes for the Fugue, and Other Voices. novels and one middle-grade novel. She also writes Stranger. Mudede has made three films, which have literary fiction, creative nonfiction, and poetry, with appeared at Sundance and Cannes. Mudede has written Imani Sims is a stiletto-loving Seattle native who spun recent work in the Sewanee Review, Prairie Schooner, and for the New York Times and Arcade Journal, and in 2003 her first performance poem at the age of fourteen. the Southern Review. She serves on the creative writing published a short book, Last Seen, with Diana George. She believes in the healing power of words and the and literature faculty at Texas Tech University. transformational nuance of the human story. Her book Sierra Nelson (Typing Explosion, Vis-à-Vis Society), (A)live Heart is forthcoming from Sibling Rivalry Press. Megan Kruse is the author of Call Me Home, released poet, performer, and text-based artist, is author of I Take by Hawthorne Books in 2015, with an introduction by Back the Sponge Cake (Rose Metal) and chapbook In Case Erin Sroka’s work has appeared or is forthcoming in the Elizabeth Gilbert. She is currently the visiting writer-in- of Loss. Earning her MFA from UW, she is a MacDowell New New South and Oxford American. She is a recipient residence for Eastern Oregon University’s low-residency Colony Fellow and teaches in Seattle, Friday Harbor, and of a MacDowell Fellowship, an Anne Cox Chambers MFA program. She lives in Seattle. Rome. Fellowship in Journalism, and a grant from the Durham Arts Council. Stephanie Kuehnert has published two young-adult Theo Pauline Nestor is the author of Writing Is novels, I Wanna Be Your Joey Ramone and Ballads of My Drink (Simon & Schuster, 2013) and How to Sleep Greg Stump has worked as a writer, artist, and teacher Suburbia. She has a young-adult memoir forthcoming Alone in a King-Size Bed: A Memoir of Starting Over in Seattle for more than a decade. His work in comics from Dutton in 2017. She also writes for Rookie, an (Crown, 2008). Nestor has taught the memoir certificate includes the weekly strip Dwarf Attack and the acclaimed online magazine for teenage girls. course for the University of Washington’s Professional & comic book series Urban Hipster. A longtime contributor Continuing Education program since 2006. to the Stranger and the Comics Journal, he was named David Lasky has been writing and drawing comics for “Illustrator of the Year” by Cartoonists Northwest in over twenty years. He co-authored the graphic novel Melanie Noel is the author of The Monarchs 2010. Carter Family: Don’t Forget This Song, which won the (Stockport Flats, 2013). Her poems have also appeared in Eisner Award in 2013. Weekday, Spiral Orb, La Norda Especialo and The Arcadia Anca L. Szilágyi’s writing appears in Gastronomica, Project. Fairy Tale Review, and on the Ploughshares blog, among Sonya Lea’s memoir, Wondering Who You Are (Tin other publications. She has been awarded grants and House), is about her marriage after her husband lost Nicholas O’Connell, MFA, PhD, is the author of fellowships from 4Culture, Vermont Studio Center, his memory. She received an Artist Trust Award and an The Storms of Denali and contributes to Newsweek, the Made at Hugo House, and the Jack Straw Writers international award for her personal essays. New York Times, the Wall Street Journal, Condé Nast Program. Travel, Food & Wine, and Outside. He is the founder of Kate Lebo is the author of the cookbook Pie School. Her thewritersworkshop.net. Anastacia Tolbert is a Cave Canem Fellow, essays and poems have appeared in Best American Essays, Hedgebrook Alumna, and Artist Trust EDGE Program Best New Poets, New England Review, Hobart, and AGNI, Annie Pearson has worked as a writer, technical editor, Graduate. She is the writer, co-director, and co-producer among other places, and she writes about food for the and manager of editors for more than twenty years— of GOTBREAST? (2007), a documentary about the Spokesman-Review. suffering the slings and errors of outrageous mis-editing views of women regarding breast and body image. Her and enduring the joy of editorial transformation working writing has been published widely. Joan Leegant is the author of a novel, Wherever You Go, with intelligent, insightful editors. and a story collection, An Hour in Paradise, which won David Wagoner has published seventeen books of the PEN/New England Book Award and was a Barnes Deborah Poe is author of the poetry collections keep, poems and ten novels. He is professor emeritus at the & Noble Discover Great New Writers pick. She is the the last will be stone, too (Stockport Flats), Elements University of Washington and was writer-in-residence 2014–2015 prose-writer-in-residence at Hugo House. (Stockport Flats), and Our Parenthetical Ontology (2005-2008) at Hugo House. (CustomWords), as well as a novella in verse, Hélène Jill Leininger’s poems can be found in Poet Lore, (Furniture Press). Deborah Woodard’s most recent poetry collection Harvard Review, cream city review, and Poetry is Borrowed Tales (Stockport Flats). Hospital Series, her International. She’s the author of two chapbooks: Roof Mary Lane Potter is the author of the novel A translation from the Italian of Amelia Rosselli, is now Picnic Skies, New York and Sky Never Sleeps, selected by Woman of Salt (a 2001 Barnes and Noble Discover Great out from New Directions. She curated readings for the Mark Doty for BLOOM in 2012. New Writers selection) and Strangers and Sojourners: Margin Shift Collective for 2014-15. Stories from the Lowcountry, among others. She has been Sam Ligon’s books include Drift and Swerve, Safe awarded writing residencies at MacDowell, Hedgebrook, Carolyne Wright’s new book is the anthology Raising in Heaven Dead, and Among the Dead and Dreaming and Caldera, as well as a Washington State Arts Lilly Ledbetter: Women Poets Occupy the Workspace (Lost (forthcoming in 2016). He teaches fiction writing at Commission/Artist Trust Fellowship. She just completed Horse Press, 2015). A Seattle native who studied with EWU, edits Willow Springs, and is the artistic director of a new novel, By the Hand of a Friend, as well as a spiritual Elizabeth Bishop and Richard Hugo, she teaches for the the Port Townsend Writer’s Conference. autobiography entitled Seeking God and Losing the Way: Whidbey Writers Workshop MFA Program. A Story of Love and Conversion. Corinne Manning’s work is forthcoming in Story Kristen Millares Young is a prize-winning Quarterly and has appeared in Drunken Boat, Arts & Nancy Rawles is a novelist and playwright. Her investigative journalist and writer published by the Letters, Vol. 1 Brooklyn, the Nervous Breakdown, and award-winning novel My Jim tells the story of the wife Guardian, City Arts Magazine, the Seattle Post- as a chapbook through Alice Blue Review’s Shot Gun and children of Mark Twain’s famous slave character, and Intelligencer, Pacifica Literary Review, the Miami Wedding Series. what happened to them after he escaped down the river Herald, and TIME Magazine, among others. Kristen with Huck. was the researcher for the New York Times team that Martin McClellan is a novelist, designer, and co- produced “Snow Fall: The Avalanche at Tunnel Creek,” a founder of the Seattle Review of Books. His first book, Judith Roche is the author of four books of poetry, multimedia narrative that won a Pulitzer and a Peabody. California Four O’Clock, was published in a limited- editor of several anthologies, and has many publications edition hardback through a successful Kickstarter in in journals and magazines. Her most recent book is All Arisa White is an award-winning Cave Canem fellow, 2015. He’s Senior UX Designer for BreakingNews.com. Fire All Water (Black Heron Press, 2015). an MFA graduate from UMass, Amherst, and is the author of the chapbooks Disposition for Shininess and Post Jarret Middleton is the author of the novels David Schmader is a writer and performer whose solo Pardon, as well as the full-length collections Hurrah’s Nest Darkansas and An Dantomine Eerly. He is currently the plays include Letter to Axl, Straight, and A Short-Term and A Penny Saved. editor of Pharos Editions, an imprint of Counterpoint Solution to a Long-Term Problem. Since 2015, he’s been 13 NONPROFIT ORG US POSTAGE PAID SEATTLE, WA 1634 11TH AVE. PERMIT #1030 SEATTLE, WA 98122

Become a Hugo House member at hugohouse.org and receive discounts on classes & early registration.