writing classes Fall 2017

hugohouse.org WHAT'S NEW FOR FALL QUARTER

More yearlong classes Fall quarter means the start of yearlong classes, and we've added another offering to this popular and effective workshop model. In addition to classes in Memoir, Prose, Young Adult, and Poetry, we now have a Short Story yearlong class.

If you're eager to develop a strong and steady writing practice, as well as become part of a tightly knit cohort of writers, then a yearlong class is for you—whether you're early in the writ- ing process or already have a rough draft. These sessions fill up quickly so register soon! For a list of yearlong offerings, see pages 6 and 7.

Tiered classes In addition to yearlong classes, Hugo House now offers a track of classes in Poetry, Fiction, and Creative Nonfiction to help you feel confident in progressing through your writing with the appropriate tools, skills, and an understanding of the diverse voices at work in each genre. You may self-select into classes based on where you feel comfortable in a particular genre, and you are welcome to take classes as many times as you would like. For a list of workshops, flip to page 4.

Introductory classes In partnership with Seattle Public Library, we're offering free introductory classes through the Seattle Writes program. Taught by Hugo House instructors, these one-session classes take place at various branches around the city. This fall, we're offering: The Art of the Political Essay with Sonora Jha, All-Accepting: Accessing Hinduism in Your Writing with Shankar Narayan, Jump-Starting Your Story with Susan V. Meyers, and Starting Your Novel with John Engle- hardt. For more details, visit bit.ly/HugoIntroClasses.

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@hugohouse TABLE OF HOW TO CONTENTS REGISTER

VISITING WRITERS ...... 2 hugohouse.org

TIERED CLASSES ...... 4 206-322-7030 YEARLONG CLASSES ...... 6

THE WRITING LIFE ...... 7 DATES OF REGISTRATION FICTION ...... 8 All registration begins at 10:30 a.m. MULTIGENRE ...... 9 July 24 Scholarship applications open NONFICTION ...... 13 August 14 $500+ donor registration POETRY ...... 14 Early bird pricing in effect August 15 Member registration YOUTH CLASSES ...... 15 August 22 General registration ABOUT OUR TEACHERS ...... 16 August 25 Scholarship applications due August 28 Early bird pricing ends Sept. 5 Scholarship applicants notified CATALOG KEY

Online class EARLY BIRD Register early to save! Early bird pricing runs August 14 through August 28.

ABOUT OUR CLASSES • $10 off one-session classes Whether you’re writing your first poem or have a few novels be- • $20 off classes that are two to six sessions hind you, Hugo House offers a class to help you become a better • $35 off classes that are eight sessions or more writer. Most classes at Hugo House are intended for writers with all levels of experience. If a class is intended for a specific level, it *Early bird pricing is automatically applied at checkout will be noted in the class description. when registering online.

Introductory: Writers with little or no experience in a writing class or workshop setting but who want to expand their knowledge of MEMBERSHIP craft. Do more at Hugo House while supporting the Intermediate: Writers with some experience in genre-specific literary arts! instruction looking to deepen their understanding and hone their craft. As a member, you’ll help us provide thought-pro- Advanced: Writers with significant experience in a writing class voking classes and events that connect writers and or workshop setting who seek assistance and feedback with readers to the craft of writing. You’ll also receive revision. great benefits, including early registration and dis- counts on classes and events! All Levels: Classes open to all levels are useful to a writer at any level of prior writing class experience. For more information or to join, visit hugohouse.org

or call (206) 322-7030. Questions? Email us at [email protected] or call (206) 322-7030. We're here to help! VISITING WRITERS

WoRD WORK // writers on writing

KELLY LINK MARY RUEFLE JESS WALTER on writing the fantastic on imagination on narrative time SEPTEMBER 8 OCTOBER 13 DECEMBER 6

Classes with visiting writers for the Word Works series are listed in our online catalog. Visit hugohouse.org for details and registration.

HUGO SERIES // new work on themes

"SEQUELS" | SEPTEMBER 15

MEGHAN DAUM SOLMAZ SHARIF SONORA JHA

"NEIGHBORHOOD WATCH" | NOVEMBER 10

Classes with visiting writers for the Hugo Literary Series are listed in our online catalog.

Visit hugohouse.org for details and registration.

JERICHO BROWN POROCHISTA KHAKPOUR

2 OTHER VISITING WRITERS

HOW TO SEQUENCE A PRIZEWINNING POETRY MANUSCRIPT One session with Marci Calabretta Cancio-Bello Saturday, Sept. 9 1–4 pm All Levels | Part lecture and part workshop, this class gives you a hands-on approach General: $89 | Member: $80.10 to finding the best order for your manuscript to keep readers (and contest judges) hooked. We will discuss why editors care about the order of poems in a book and how POETRY to turn your manuscript into a prizewinning collection. This class is open to writers at all stages, whether you have just a few poems, are halfway through a project, or have a fully polished manuscript.

THE ESSAY with Esther Dischereit and Julienne Van Loon One session Presented in partnership with the University of Iowa's International Writing Program Monday, Oct. 2 1–4 pm All Levels | What is the role of the essay in responding to the social challenges General: $89 | Member: $80.10 of our times? How can the essay bring important intellectual, philosophical, and social concerns to broad readerships? Two acclaimed writers from the University of NONFICTION Iowa's International Writing Program will team-teach a three-hour session exploring the ways language impacts us and others and the power of the essay in informing and influencing audiences in a global literary landscape.

LEAVING PLACES: TAPPING INTO MEMORY with Lauren Camp One session Monday, Oct. 23 All Levels | Almost everyone has a previous place they’ve lived. Some have been 1–4 pm many places, leaving footsteps and fingerprints all around. Let’s return to some of General: $89 | Member: $80.10 those vistas and doorways and rooms, passing through again to find their important moments in your history. Expect to be surprised by how far your memory stretches. MULTIGENRE

THE WRITER'S NOTEBOOK with Diana Raab Two sessions Saturday & Sunday, Nov. 4 & 5 All Levels | Keeping a notebook is an important part of a writer’s toolkit. It is a 10 am–1 pm place to work out creative ideas, practice writing styles, and tap into your inner muse. General: $172 | Member: $154.80 Your notebook’s contents may serve as a springboard for poems, stories, essays, and full-length books. Through discussion and writing prompts, you will learn how to ef- MULTIGENRE fectively use a journal. This course will also offer ideas on how to transform notebook entries into publishable and compelling work. Open to both emerging and published writers.

WRITING CHILDREN FOR ADULTS with Sara Jaffe One session Sunday, Nov. 5 All Levels | What does it take to write about younger characters convincingly—for 12–4 pm an adult audience, specifically? This two-day workshop will explore strategies for cap- General: $120 | Member: $108 turing the qualities of youthful observation and experience, while rendering younger characters as complex, surprising, and fallible as their adult counterparts. Open to FICTION writers of fiction, creative nonfiction, and cross-genre work. Writers of YA fiction are welcome to attend, though the focus will be on writing for an adult audience.

3 TIERED CLASSES

In addition to yearlong classes (pages 6–7), Hugo House now offers a track of classes in Poetry, Fiction, and Creative Nonfiction to help you feel confident in progressing through your writing with the appropriate tools, skills, and an understanding of the diverse voices at work in each genre.

You may self-select into classes based on where you feel comfortable in a particular genre, and you are welcome to take classes as many times as you would like.

Schedule Fall Quarter Winter Quarter Spring Quarter

Poetry I Poetry II Poetry II Poetry III Poetry I Poetry III

Poetr y I Poetr y II Poetry III Online Online Online

Fiction I Fiction II Fiction II Fiction III Fiction I Fiction III

Fiction I Fiction II Fiction III Online Online Online

Creative Creative Creative Creative Creative Creative Nonfiction I Nonfiction II Nonfiction II Nonfiction III Nonfiction I Nonfiction III

Creative Creative Creative Nonfiction I Nonfiction II Nonfiction III Online Online Online

POETRY I with Jamaica Baldwin Six sessions Saturdays, Sept. 16–Oct. 21 Whether a beginning poet or lover of the art, this class will introduce you to the beauty 10 am–12 pm and complexity of writing and reading poetry, as well as the basics of the workshop model. General: $295 | Member: $265.50 We will look to image, metaphor, sound, lineation, and structure to write our own poems.

POETRY I ONLINE with Michelle Peñaloza Six sessions Sept. 18–Oct. 23 Whether a beginning poet or lover of the art, this class will introduce you to the General: $295 | Member: $265.50 beauty and complexity of writing and reading poetry, as well as the basics of the workshop model. We will look to image, metaphor, sound, lineation, and structure to write our own poems.

POETRY II with Keetje Kuipers Eight sessions Thursdays, Sept. 28–Nov. 16 This class will build upon craft learned in Poetry I. Through more intensive readings, 7:10–9:10 pm prompts, discussions, and workshops of your poems, we will further develop our poetic General: $375 | Member: $337.50 technique. While Poetry I is aimed at introducing you to the vast creative toolbox available to any poet, the goal of Poetry II is to explore in more detail those craft elements that are most often at play in your own growing body of work.

4 TIERED CLASSES

CREATIVE NONFICTION I with Anne Liu Kellor Six sessions Sundays, Oct. 1–Nov. 5 This class will help you decide the best way to tell the nonfiction story you want to tell. We 1–3 pm will figure out the true topic of our pieces, and how to most effectively explore those topics General: $295 | Member: $265.50 through points of view, scene, reflection, and form. Using generative writing, reading, and an introduction to the workshop model, we will begin to investigate our own personal stories.

CREATIVE NONFICTION I ONLINE with Anne Liu Kellor Six sessions Nov. 7–Dec. 12 This class will help you decide the best way to tell the nonfiction story you want General: $295 | Member: $265.50 to tell. We will figure out the true topic of our pieces, and how to most effectively explore those topics through points of view, scene, reflection, and form. Using generative writing, reading, and an introduction to the workshop model, we will begin to investigate our own personal stories.

CREATIVE NONFICTION II with Beth Slattery Eight sessions Tuesdays, Sept. 26–Nov. 14 This class will build upon craft learned in Creative Nonfiction I. We will delve deeper 7:10–9:10 pm into styles of creative nonfiction including memoir and personal essay forms. Students will General: $375 | Member: $337.50 consider more intensive readings and prompts, and workshop their own nonfiction pieces.

FICTION I with Anca Szilágyi Six sessions Saturdays, Oct. 14–Nov. 18 Whether you’re looking to write stories or a novel, this course will introduce three key ele- 1–3 pm ments of fiction: character, plot, and landscape. Alongside published examples and writing General: $295 | Member: $265.50 prompts in and out of class, you will write a short story and learn the basics of the work- shop model.

FICTION I ONLINE with Peter Mountford Six sessions Oct. 5–Nov. 9 Whether you’re looking to write stories or a novel, this course will introduce three General: $295 | Member: $265.50 key elements of fiction: character, plot, and landscape. Alongside published exam- ples and writing prompts in and out of class, you will write a short story and learn the basics of the workshop model.

FICTION II with Michael Shilling Eight sessions Tuesdays, Sept. 26–Nov. 14 This class will build upon craft learned in Fiction I. We will focus on point of view, scene 7:10–9:10 pm construction, and dialogue through reading published examples, writing prompts, and General: $375 | Member: $337.50 workshop of each other’s writing.

5 YEARLONG CLASSES

In weekly meetings over the course of the 2017-2018 Yearlong classes in Prose, Memoir, and Young Adult academic year, Hugo House's yearlong classes provide Fiction include a full-day intensive publishing class on dedicated writers with an intensive path toward finishing the book business and finding a market for your book. a draft of a book. The class features guests, including literary agents and other individuals from the publishing business. Whether you are early in the writing process or already have a rough draft, these yearlong courses will help you It is okay to miss some classes because of travel. That set active, clear goals as well as write and revise with in- said, students who get the most out of yearlong classes tention. One-third of each course focuses on developing are often very dedicated to their writing, and are eager proficiency with the writing tools (craft elements) that to develop a strong and steady writing practice, as well as you will need to use, and the remaining two-thirds are become part of a tightly knit cohort of writers. comprised of workshops and writing toward personally devised deadlines.

YEARLONG IN MEMOIR with Theo Nestor 31 sessions Tuesdays, Sept. 19—June 5 In this craft-focused class, we will be discussing aspects of writing a memoir that has 5–7 pm enduring value, including but not limited to: expanding your story to the universal General: $1,550 | Member: $1,395 and contracting it to the stunningly specific; generating material once you’ve clarified your story’s arc and themes; writing a scene, a chapter, a section; creating momentum; making your narrator a character; what to include and what to leave out; finding the connective tissue that makes a book cohere; how to open a memoir and how to end it. Part of each class meeting will be allotted to writing, so plan on bringing your laptops and/or notebooks to class. Please submit a project description on the class description at hugohouse.org.

YEARLONG IN PROSE with Peter Mountford 31 sessions Wednesdays, Sept. 20–May 30 Peter Mountford designed and taught the original yearlong class at Hugo House, and 5–7 pm this will be his sixth session refining the course in prose. The class is deliberately not General: $1,550 | Member: $1,395 genre specific, and is open to writers of fiction and nonfiction, as Mountford prefers to work with a cohort that spans a mix of genres in order to examine the principles that remain constant across different forms (as well as those that change). The models students look at will be from an array of contemporary literary fiction and nonfiction. Although Mountford’s classes feature a strong emphasis on teaching the elements of craft—controlling narrative time, narrative structure, characterization, tone, voice, and point of view—his in-class style is often irreverent and humorous, but also very direct. Asked about his mission with this class, Mountford wrote: “I don't want my students to feel hostage by the whims of inspiration, or the accident of talent. In my experi- ence people who read and write a lot on a regular basis and frequently examine their choices on the page, these are the people who become better writers, and often end up getting published. Ultimately, I want students to gain control over the craft elements in their work, so that they can more easily write with intention.” Previous years' syllabi, samples of feedback from the instructor, lesson plans, and contact information for previous students available upon request.

YEARLONG IN YOUNG ADULT FICTION with Karen Finneyfrock 31 sessions Wednesdays, Sept. 20–May 30 This class is open to those writing in any genre of fiction intended primarily for a 7:10–9:10 pm teenage audience. Through reading assignments, lectures, in-class exercises, and work- General: $1,550 | Member: $1,395 shopping your manuscript, you will learn to hone your voice, develop a clear narrative and write compelling characters for young adult readers.

6 YEARLONG IN SHORT STORY with Ramón Isao 30 sessions Tuesdays, Sept. 26–June 19 Join award-winning writer Ramón Isao in a yearlong version of one of Hugo House’s 7:10–9:10 pm most popular classes. In this yearlong workshop, we’ll read, write, and respond to General: $1,380 | Member: $1,242 short fiction with equal parts rigor and vigor. Expect lively discussions, swoon-worthy readings, stimulating exercises, and oft-bizarre literary experiments. Expect to dig into the craft, mechanics, and art of writing better fiction. Finally, expect masterworks from the likes of George Saunders, Chimamanda Ngozi Adichie, Zadie Smith, Junot Díaz, Joy Williams, Haruki Murakami, and many more!

YEARLONG IN POETRY with Bill Carty 30 sessions Wednesdays, Sept. 20–May 30 Russian filmmaker Andrei Tarkovsky wrote, "Diamonds are not found in black earth; 7:10–9:10 pm they have to be sought near volcanoes." In this yearlong poetry class, we'll write po- General: $1,380 | Member: $1,242 ems that seek to tap into this artistic heat. We will workshop and revise these poems while finding inspiration from both historical sources and contemporary poetry col- lections. Combining both workshop and generative exercises, the course will empha- size the development, critique, and inspiration of long-term poetic endeavors. Work- shop experience required. Required text: Toward the Open Field, ed. Melissa Kwasny

THE WRITING LIFE

HOW TO MANAGE—AND GROW—YOUR FREELANCE INCOME One session with Nicole Dieker Saturday, Oct. 7 1–4 pm Intermediate | To build a successful freelance writing career, you need to learn how General: $89 | Member: $80.10 to both manage and grow your income. This means tracking your current income, knowing how much work you need to book in order to hit short- and long-term income goals, and budgeting for both high and low cash-flow months. This course will look at the mechanics of freelance income management, and students will leave with spreadsheet templates to help them track and grow their own freelance earnings.

INTRODUCTION TO SCRIVENER with Anna Vodicka One session Saturday, Oct. 28 Introductory | Writers swear by it. Macworld calls it “the biggest software tool for 1–4 pm writers since the word processor.” Whether you’re a blogger, novelist, screenwriter, or General: $89 | Member: $80.10 poet, Scrivener can streamline writing at every stage—but it can also be intimidating. In this seminar, we’ll cover Scrivener basics, discuss customization according to your project needs, and learn approachable tools and tips. Participants should bring a lap- top and download a free trial before class. Students will receive a 20% discount on Scrivener software after registering.

PERFORMANCE FOR WRITERS with Kathleen Flinn One session Sunday, Nov. 12 All Levels | Public speaking is the world's leading phobia. Although writers tend to 10 am–3 pm be bookish types, at some point you’ll need to discuss or read your work in front of General: $145 | Member: $130.50 an audience, be interviewed on TV or radio, or take part in a discussion panel. In this busy session, you’ll learn (and practice!) how to speak into a mic, do a public reading, read an audience, handle a Q&A, and use comedy techniques to win over a crowd and overcome stage fright.

7 FICTION

General

MAKING A SCENE with Susan Meyers Eight sessions Thursdays, Sept. 14–Nov. 2 All Levels | In life, we try to avoid making messes—but stories love disaster. Good 5–7 pm writers get characters to “make a scene”—and carry that tension all the way through a General: $375 | Member: $337.50 story. In this class, we’ll use the format of the “single-scene story” to study the shape and drama of fiction. Reading samples from contemporary authors, you’ll learn how to break apart, study, and write your own effective scenes—whether as stand-alone stories or as part of a longer project.

THE CRAFT OF SUBTEXT with Joe Ponepinto One session Saturday, Oct. 7 Intermediate/Advanced | Charles Baxter calls subtext “the unspoken soul-mat- 1–4 pm ter” of a story. It is the invisible element that makes creative writing come alive with General: $89 | Member: $80.10 dimension and meaning. This class will combine lecture and workshop to lead stu- dents to a deeper understanding of what subtext is and how to incorporate it into their writing, both in dialogue and narrative. Students will discuss examples of sub- text in fiction and have an opportunity to workshop portions of their writing.

BUILDING THE PERFECT BEAST: CREATING STRONG, EFFECTIVE Six sessions CHARACTERS with BJ Neblett Thursdays, Nov. 2–Dec. 14 [No class Nov. 23] All Levels | We will discuss the troubles, problems, and pitfalls of creating characters 7:10–9:10 pm in fiction. Students will learn how to craft effective protagonists, antagonists, and General: $295 | Member: $265.50 secondary and minor characters. Other topics will include character-driven stories, plot-driven stories, making likable bad guys, the anti-hero, and alien creature charac- ters in sci-fi and fantasy. Each student will fashion their own set of characters, incor- porating them into a finished story.

VIRGINIA WOOLF'S AQUATIC POETIC with Jeff Encke Six sessions Saturdays, Nov. 4–Dec. 16 All Levels | Virginia Woolf’s imagination lurks in bodies of water. For Woolf, the [No class Nov. 25] sea symbolizes many things: the passage of biographical and historical time, the pa- 10 am–12 pm limpsest quality of memory, the communal nature of consciousness and identity, the General: $295 | Member: $265.50 mysteries of birth and death. This six-week course will examine Woolf’s aquatic poetic through close readings of The Voyage Out, her first novel, andThe Waves, one of her last.

The Novel

HOW NOT TO WRITE A NOVEL with Sonora Jha Eight sessions Thursdays, Sept. 14–Nov. 2 All Levels | Based on the hugely useful and wickedly funny book by the same name, 5–7 pm this class is for the beginning novelist or those looking to revise their first draft. We General: $375 | Member: $337.50 will workshop your pages, learn the classic missteps to avoid, and examine the sound advice of agents and editors. Be prepared to generate better, stronger characters, plot, and scenes as you throw out tired ideas, kill all mediocrity, and get out of your own way.

8 FICTION, continued

The Novel

NOVEL IMMERSION with Waverly Fitzgerald Six sessions Tuesdays, Oct. 24–Dec. 5 All Levels | Designed to complement National Novel Writing Month (NaNoWriMo), [No class Nov. 21] this popular class will set your course for writing a novel, which you can pursue at the 5–7 pm pace you prefer. Using in-class writing exercises and homework assignments, you’ll General: $295 | Member: $265.50 devise a plot and develop characters, choose a point of view and create vivid settings, and begin writing your novel. The very ambitious will finish a rough draft of 50,000 words.

Short Story

SHORT STORY GENERATOR with Beth Slattery Six sessions Thursdays, Oct. 12–Nov. 16 All Levels | Know you want to write fiction but aren’t sure how to get started? Writ- 5–7 pm ten before but are feeling stuck? This generative class will help you find ideas, locate General: $295 | Member: $265.50 plot, build dramatic tension, and enhance characters that attract readers. Students can “choose their own adventure”: working on a single story for six weeks or multi- ple stories/story ideas. We will read, discuss, offer on-the-spot feedback, and we will write—a lot. Students can expect extensive and supportive instructor critique.

MULTIGENRE

Prose & Poetry

POETS OF WITNESS & ENGAGEMENT: KOMUNYAKAA, FORCHÉ, Eight sessions TURNER, SHARIF with Carolyne Wright Tuesdays, Sept. 19–Nov. 7 5–7 pm All Levels | Yusef Komunyakaa, Carolyn Forché, Brian Turner, and Solmaz Sharif General: $375 | Member: $337.50 are known for their voices of witness: confronting war, injustice, and other conditions of extremity from first-hand experience in thoughtful and resonant work. We will read their poems that engage with and respond to urgent political and social contexts. Then, through writing exercises and workshop discussions, we will create our own work that inspires and provokes. Books for this course: Dien Cai Dao by Yusef Ko- munyakaa; The Country Between Us by Carolyn Forché; Here, Bullet by Brian Turner; Look by Solmaz Sharif.

THE WORDS TO SAY IT: WRITING ABOUT ILLNESS, TRAUMA & Five sessions HEALING with Suzanne Edison Saturdays, Sept. 23–Oct. 28 [No class Oct. 7] All Levels | By focusing on the craft of writing, we can transform personal experience 10 am–12 pm into art. Readings will include excerpts from Poetry in Medicine, The Healing Art: A General: $265 | Member: $238.50 Doctor's Black Bag of Poetry, Poetry as Survival, and Beauty is a Verb; and the work of Alicia Ostriker, Lucia Perillo, Susan Sontag, Lucille Clifton, Anatole Broyard, and Kevin Young, among others. Each week we will read, discuss, and write. In the last class, students may bring a piece of their own writing to workshop for feedback.

9 MULTIGENRE, continued

Prose & Poetry

THE LATE SHOW with Stephanie Barbé Hammer Eight sessions Sundays, Sept. 24–Nov. 12 Introductory | Many of us have put off embracing the writer’s life for good reasons, 2–4 pm but now—at middle age and beyond—we passionately want that life. We will begin General: $375 | Member: $337.50 a writing practice, use prompts to make new work, engage in productive workshop experiences, and explore kinds of writing both familiar and strange. We will write in every class, and we will read 2-3 short pieces by other authors to inspire us and keep us going.

GENERATIVE SCIENCE-FICTION WORKSHOP with Anastacia-Renée Four sessions Wednesdays & Thurdays, All Levels | The goal in this course is to create! We will traverse lands unknown using Sept. 27 & 28 and Oct. 4 & 5 Octavia Butler, Ursula K. Le Guin, and Colson Whitehead as our guides. We will 5–7 pm generate new writing in your genre of choice, or across genres. We will use art, film, General: $235 | Member: $211.50 and music as a conduit for creativity. The course is for both emerging and seasoned writers.

BUILDING A WRITING PRACTICE with Anne Liu Kellor Eight sessions Thursdays, Sept. 28–Nov. 16 Introductory/Intermediate | Do you love to write, but struggle to keep doing so? 10:30 am–12:30 pm Do you want to commit to a regular writing practice within a supportive commu- General: $375 | Member: $337.50 nity? Together we will outline our intentions and check in weekly to hold ourselves accountable. During class, we will free-write from prompts (geared toward nonfiction, but adaptable to any genre), share, and discuss the process of sustaining a "writing life"—from solitary practice to publication goals to writing groups—drawing inspira- tion from Natalie Goldberg, Annie Dillard, and others.

THE MUSICAL SENTENCE: THE PROSE POEM OR POETIC PROSE Eight sessions with Erich Schweikher Thursdays, Sept. 28–Nov. 16 7:10–9:10 pm Intermediate/Advanced | The prose poem is a border genre. It is perfectly suited General: $375 | Member: $337.50 to articulating consciousness, to the figuring out of the relationship between language and meaning. If you write fiction or nonfiction, working with the prose poem will help you with style and originative structures. If you are poet, writing in sentences and paragraphs will reveal to you new rhythms, forms, and associations. We will look at works and authors from imagism, surrealism, objectivism, the New York School, and Language poetry.

THE LANGUAGE OF LOSS: CREATIVITY IN RESPONSE TO GRIEF Four sessions with Tessa Hulls Mondays, Oct. 16–Nov. 6 5–7 pm All Levels | What role does creative expression play in navigating grief, and why are General: $235 | Member: $211.50 we compelled to offer eulogies in memory of those we have lost? This generative writ- ing class will examine creativity as part of the process of mourning and will draw from a multidisciplinary reading list of essays, comics, poetry, and short stories created in response to loss.

A POET'S APPROACH TO NATIONAL NOVEL WRITING MONTH Four sessions with Kristina Jipson Saturdays, Oct. 28–Dec. 2 [No class Nov. 11 or 25] All Levels | Every November, thousands of people jump-start their fiction projects 1–3 pm during National Novel Writing Month. In celebration, this course will bring togeth- General: $235 | Member: $211.50 er writers whose primary background is in poetry to explore how to harness poetic skill to create great fiction. We’ll look at examples of writers working across genres, brainstorm and refine our own novel ideas, and support one another in adhering to ambitious writing schedules through Novel Writing Month…and beyond! 10 MULTIGENRE, continued

Prose & Poetry

OULIPO: THE CREATIVE BEAUTY OF CONSTRAINTS Six sessions with Erich Schweikher Sundays, Nov. 12–Dec. 17 1–3 pm All Levels | Founded in France in the 1960s, Oulipo (loosely translated to "work- General: $295 | Member: $265.50 shop of potential literature"), unites language with mathematics to create constrained writing defined by set structures or patterns. The constraints are a means to trig- ger ideas that may otherwise be ignored during the traditional writing process. Each week, we will focus on one constraint to generate new work. Possible constraints: lipograms, univocalism (writing that excludes all but one vowel), sonnet palindromes, and snowball (writing in which each successive word is a letter longer).

Prose

POINTS OF VIEW with Waverly Fitzgerald Six sessions Tuesdays, Sept. 12–Oct. 17 All Levels | Explore the possibilities of different points of view in both nonfiction 5–7 pm and fiction. Besides observing the effects of first, second, and third person, we'll also General: $295 | Member: $265.50 look at more subtle choices, including degree of intimacy, position in time, and shift- ing points of view. By the end of class you will have five new essays or stories, or one piece written five different ways.

WRITE A TRIPTYCH! with Theo Nestor One session Saturday, Sept. 30 All Levels | The triptych is a three-paneled piece of prose in which the three parts 1–5 pm form a whole. In this class, students will learn about the possibilities of the triptych General: $120 | Member: $108 form and write a draft of a triptych during our two hours together. Bring your laptop or a notebook and a pen.

WALL-TO-WALL WRITING PROMPTS with Anca Szilàgyi One session Saturday, Sept. 30 All Levels | Blocked? We'll take care of that in an afternoon chock-full of writing 1–4 pm prompts based on images, games, eavesdropping, and memory. Students will leave General: $89 | Member: $80.10 class with a few scenes, six story openings, and a plan to complete at least one of them. There will be time for sharing work but the focus will be on generative writing, not Sliding-scale pricing is also available. critique. Students should bring a few overheard lines of dialogue. Contact us for more information.

MANAGING TIME IN FICTION & MEMOIR with Alex Madison Four sessions Sundays, Oct. 1–22 All Levels | The secret plot of every story is time. In this course, we’ll consider how 1–3 pm our decisions about time shape fiction and memoir: from the level of the sentence General: $235 | Member: $211.50 across the arc of a story. We’ll look at individual scenes—the most detailed form of time in prose—and we’ll discuss when to start and end our narratives. We’ll respond to short prompts and read works by the likes of Charles D’Ambrosio, Zadie Smith, James Baldwin, and others.

11 MULTIGENRE, continued

Prose

A FIELD RESEARCHER'S GUIDE TO AUTHORITATIVE STORYTELLING Eight sessions with Kristen Millares Young Wednesdays, Oct. 18–Dec. 13 [No class Nov. 22] All Levels | We will learn to infuse narrative with lyric accuracy through careful study 7:10–9:10 pm of the world. Guided by authors and poets who take deep dives into their subjects, General: $375 | Member: $337.50 we will produce new writing during generative in-class workshops. The instructor will also offer individual consultations about one piece from each participant. Remember: research buoys a story like water carrying a boat. Keep it moving to stay afloat.

REVISION AS INQUIRY WORKSHOP with Corinne Manning Six sessions Mondays, Oct. 23–Nov. 27 Intermediate | This workshop is designed for students who are looking to deepen 7:10–9:10 pm their revision and feedback skills. In the craft of revision—and in the craft of being General: $295 | Member: $265.50 a reader—knowing how to ask questions is key. Asking questions that are mutually vulnerable can further our inquiry into one another's work. Over the course of six weeks, each student will share an original piece and then its revision.

HOW LONG SHOULD A STORY BE? with Ruth Joffre Six sessions Thursdays, Nov. 2–Dec. 14 All Levels | Stories come in many shapes and sizes. In this class, we'll study flash [No class Nov. 23] fiction, short stories, and novellas to answer the question: how long should a story be? 7:10–9:10 pm Students will have the opportunity to workshop their own stories and get feedback General: $295 | Member: $265.50 about what sizes and shapes they should take.

WRITING SEX with Sonya Lea One session All Levels | This workshop is against writing sex scenes and for writing compelling Saturday, Nov. 11 10 am–4 pm sex as if we are wholly made of sex; using sex and the body as a way of writing expe- General: $172 | Member: $154.80 rience. A character’s messy truth is revealed through shame, humor, desire, frankness, obfuscation, and so much more. We will read Lidia Yuknavitch, Marguerite Duras, Erica Jong, Mary Gaitskill, Ian McEwan, and Mary Gordon. Focus is on generative writing and sharing work.

WRITING AN EXPANSIVE "I" with Mary Potter One session Sunday, Nov. 12 All Levels | Writing in first-person may seem easy, but it presents its own challenges. 1–4 pm The trick is to write a narrating "I" that has a distinctive voice but that is also inviting, General: $89 | Member: $80.10 trustworthy, and expansive—an "I" that makes room for the reader, elicits trust, and expands the world beyond the voice and experience of the individual narrator. Close readings of excerpts will yield nine techniques for creating a fluid, multi-dimensional "I," and we’ll practice these techniques ("I" exercises) in class.

WRITING LIMINAL EXPERIENCES with Sonya Lea One session All Levels | Saturday, Nov. 18 Liminal means threshold, and liminal experiences are transitional—a 10 am–4 pm suspension in identity, time, or community. We’ll write our way into dreams, ritual, General: $172 | Member: $154.80 wilderness, birth, death, visions, ghosts, tricksters, crossroads, revolutions, and all kinds of collapses of the status quo. You’ll come away with tools to help you work with the liminal in writing.

12 NONFICTION

General

TELLING LIFE STORIES with Susan Meyers Eight sessions Wednesdays, Sept. 13–Nov. 1 Introductory/Intermediate | How will you tell your life story? Personal writing 5–7 pm is an exciting area to explore, and this class offers you multiple approaches to digging General: $375 | Member: $337.50 into your life and writing about your experiences—and the world around you. From memoir to lyricism, nature writing to travel writing, we’ll explore our stories and voices in the company of contemporary authors like David Sedaris, Eula Biss, Annie Dillard, and David Foster Wallace while trying out several short, inspirational assign- ments to get you underway.

NONFICTION BOOK PROPOSAL with Kathleen Flinn Six sessions Saturdays, Nov. 4–Dec. 16 Introductory/Intermediate | In fiction, you must write the full manuscript before [No class Nov. 25] you sell it, but that's not the case with nonfiction. Whether you want to sell a cook- 10 am–12 pm book, true crime or even a journalistic exposé, you'll need to write a book proposal, General: $295 | Member: $265.50 not the manuscript. In this course, we'll tackle the elements of a proposal piece by piece. The goal is for students to leave with a draft proposal and the knowledge of how to finish it.

THE ART OF INTERVIEWING with Nicholas O'Connell One session Saturday, Nov. 18 All Levels | Interviewing is an essential skill for all writers, whether a memoirist, a 1–4 pm novelist, or nonfiction writer. This is a class on how to conduct a great interview: How General: $89 | Member: $80.10 do you set it up? How do you prepare? Should you use a tape recorder or simply take notes? How do you edit the finished product? The instructor will reveal craft secrets about how to turn mediocre interviews into great ones. In addition to learning inter- viewing techniques, participants will interview each other.

The Essay

INTRODUCTION TO THE LYRIC ESSAY with Jodie Noel Vinson Six sessions Mondays, Oct. 2–Nov. 6 Introductory | The lyric essay exists in an undefined space between poetry and 7:10–9:10 pm nonfiction. By breaking the rules of genre and experimenting with hybrid forms, stu- General: $295 | Member: $265.50 dents in this class can expect to breathe new life into stagnant essays, develop poetic lines into thoughtful arguments, and take their nonfiction to new, creative places. In addition to writing prompts and workshops, we’ll be exploring the genre through excerpts and essays from John D’Agata, Eula Biss, Sarah Manguso, and Claudia Ran- kine, among others.

FINISH A PERSONAL ESSAY IN NOVEMBER with Theo Nestor Four sessions Wednesdays, Nov. 1–29 All Levels | While some ambitious writers will be participating in the grueling [No class Nov. 22] NaNoWriMo (and attempting to write 50,000 words in 30 days), we will be attack- 5–7 pm ing a different goal: Take an essay from fuzzy notion to polished final draft of 1,600 General: $235 | Member: $211.50 words (or less) during the month of November. We will look at examples of personal essays and discuss various markets for personal essays. This class will offer generative activities, lecture, discussion, and feedback on your draft.

THE MICRO ESSAY with Anna Vodicka Six sessions Thursdays, Nov. 2–Dec. 14 All Levels | Between Twitter and wall feeds, blogs and Brevity, some of the most [No class Nov. 23] exciting contemporary writing is happening in the space between 140 characters and 5–7 pm 1,000 words. In this generative course, we’ll explore the ranges of short-form nonfic- General: $295 | Member: $265.50 tion, learn how restraint and constraint can enhance the power of prose, and practice the art of economy in our own micro essays, inspired by readings and prompts.

13 NONFICTION, continued

Memoir

MAP OUT YOUR MEMOIR with Theo Nestor One session Saturday, Sept. 16 Introductory/Intermediate | This class is ideal for writers who have an idea for a 1–5 pm memoir or are in the beginning stages of writing one. We will do a number of activ- General: $120 | Member: $108 ities designed to help you find a structure for your memoir and a plan for bringing that structure to life.

KICK-STARTING THE MEMOIR with John Douglas Marshall Six sessions Thursdays, Sept. 21–Oct. 26 All Levels | This is a popular class with proven results. It is for those who are thinking 7:10–9:10 pm of writing a memoir or who have begun a memoir but are stalled. Glean inspiration General: $295 | Member: $265.50 and tips from essays by noted memoirists as well as a helpful how-to guidebook, dis- cussed together in class. Required weekly are 300-word essays, which provide various building blocks for memoir. The essays are read aloud and critiqued in class, plus also receive a thorough written critique by the instructor.

MINI-MEMOIRS FOR PODCAST, RADIO, OR READING ALOUD Two sessions with Christine Hemp Saturday & Sunday, Oct. 28 & 29 10 am–4 pm All Levels | Like Bach's cantata cycles, Monet's haystack paintings, or Rilke's medi- General: $295 | Member: $265.50 tative Book of Hours, the mini-memoirs generated in this class will stand alone and/or work collectively. We’ll discover how limitation can be liberating, explore why form is crucial, and learn how to infuse your language with music. Each story will feed the next. You will leave this class with your own podcast and a suite of mini-memoirs—a small book of hours.

UNLEASHING THE HEALING POWER OF PERSONAL NARRATIVE One session with Ingrid Ricks Saturday, Dec. 2 10 am–4 pm All Levels | In this hands-on narrative writing workshop, NYT bestselling author General: $172 | Member: $154.80 Ingrid Ricks draws on lessons learned from writing her story and working one-on-one with more than a thousand students to help you unleash the power of personal nar- rative—and finding healing along the way. You’ll learn how to identify and structure the personal story you need to tell and how to bring it to life through six different in- class writing assignments. Workshop includes individual ten-minute story structure sessions. POETRY

ADVANCED POETRY WORKSHOP with David Wagoner Ten sessions Advanced | Sundays, Sept. 17–Nov. 19 The aim of this poetry workshop will be to help the students, regardless 10 am–12 pm of age or previous experience, work toward writing the best poems they can write. General: $460 | Member: $414 The instructor will offer examples from poetry of the past and present and will ask the students to bring some examples from their own reading, but the main work will be critiquing each other’s poems. The instructor will try to help reinforce the connections between sound, rhythm, and meaning and will make a number of suggestions about working methods, revision, and self-criticism.

14 POETRY, continued

WRITING ALONGSIDE GWENDOLYN BROOKS & ALICE NOTLEY Ten sessions with Deborah Woodard Saturdays, Sept. 23–Dec. 2 [No class Nov. 25] All Levels | This class will focus on the work of two major American women poets: 10 am–12 pm Gwendolyn Brooks and Alice Notley. Between them, we'll explore a range of ap- General: $460 | Member: $414 proaches from formal to experimental verse with a focus on narrative strategies for exploring history, culture, and myth, often from the perspective of the dispossessed. Weekly readings and writing prompts. Required texts: Blacks by Gwendolyn Brooks; Culture of One and Songs and Stories of the Ghouls by Alice Notley.

GENTRIFICATION & NOSTALGIA: A POETRY WORKSHOP FOR One session POETS OF COLOR with Sarah Maria Medina Saturday, Oct. 7 1–4 pm All Levels | We will read from a wide range of contemporary poets of color, including General: $89 | Member: $80.10 Hanif Willis-Abdurraqib, John Manuel-Arias, Luther Hughes, and Xandria Phillips, among others. We will draw from a well of art, both visual and musical. We will look Sliding-scale pricing is also available. at expanding form as a resistance to gentrification. Think Rumba as an alternative Contact us for more information. form to the sonnet. Think a break in beat as an expanse across the page. We will write in free verse, generate new work, and discuss redrafting techniques.

POETRY OF DISABILITY with J.W. Marshall Six sessions Mondays, Oct. 16–Nov. 20 All Levels | Poets have addressed issues of disease and traumatic injury for ages. Us- 5–7 pm ing poetry by Lucia Perillo, Tom Andrews, and others, we will study and value ways General: $295 | Member: $265.50 in which disability has been and can be translated into fine poetry. Participants need not be disabled, though disabled students are encouraged to attend. Prompts will be offered based on the work studied. Sharing personal details and/or writing will not be required.

SCATTERED EDEN: TESTIFYING FOR NATURAL PLACES One session with Kim Stafford Wednesday, Oct. 25 9 am–4 pm All Levels | Chinese painters brought wild nature into the palace with a deft image of General: $205 | Member: $184.50 a bird, a tree, a river tumbling off a cliff. Using writing, we will record our encounters with a healing spring, a chapel of shade, a wild meadow that blessed us, and other sources in memory that kindle a written record of spirited encounters with the wild. As earth pilgrims, we will bring to the page indelible escapes from the human world to sustain us in the form of stories, spells, poems, and blessings.

GENERATING ASSOCIATIVE VERSE with Judith Skillman Six sessions Tuesdays, Nov. 7–Dec. 19 All Levels | By reading Franz Wright, John Ashbery, Paul Celan, and other poets [No class Nov. 21] whose work jumps and leaps around, we’ll explore the process of writing associative- 5–7 pm ly. We will discuss poems, address prompts, and generate new work as sequences or General: $295 | Member: $265.50 stand-alone pieces in a supportive workshop environment.

YOUTH CLASSES

ZINES: WRITING IN AND FOR A COMMUNITY with Colleen Barry Six sessons Sundays, Oct. 1–Nov. 5 All Levels | A zine is a handmade publication produced by its creator(s). Zines chal- 10 am–12 pm lenge the easily digestible mainstream media, opening up a vast array of perspectives General: $295 | Member: $265.50 while highlighting community-based sharing. In this course, students will create four zines, each an original work of writing and/or visual art. We will discuss what makes effective writing and successful creative work while exploring the history of DIY pub- lishing. We’ll place special emphasis on the power of sharing our creativity within our communities. 15 ABOUT OUR TEACHERS

Anastacia-Renee is a writer, workshop facilitator International Writing Program is made possible by Sonora Jha is the author of the novel Foreign (Ran- and multivalent performance artist. She is the author the Max Kade Foundation. dom House India). She is a professor of journalism of Forget It (Black Radish Books), (V.) (Gramma at Seattle University. She is currently completing a Press), and Answer(Me) (Winged City Chapbooks-Ar- Suzanne Edison’s chapbook, The Moth Eaten memoir and a second novel. Sonora is a current Hugo gus Press). World, was published in 2014. Her work can be House writer-in-residence. found in Bombay Gin, The Naugatuck River Review, Jamaica Baldwin is a Jack Straw Writer's Fellow Ekphrasitc Review, Ars Medic, Spillway, The Examined Kristina Jipson’s first book,Halve , won the Tupe- and holds an MFA in Creative Writing from Pacific Life Journal, and elsewhere. www.seedison.com. lo Press First/Second Book Award. She is the author University Oregon. Her poetry has been published or of two chapbooks: Lock, Means (Dancing Girl Press) is forthcoming in Rattle, Spiral Orb, Hayden’s Ferry, Jeff Encke taught writing and criticism at Colum- and How Void of Miracles (Hand Held Editions). Third Coast Review, and the Seattle Review of Books, bia University for years, serving as writer-in-residence where she was the March 2017 poet in residence. for the Program in Narrative Medicine while com- Ruth Joffre’s work has appeared in The Kenyon pleting his PhD in English. His poems have appeared Review, Hayden’s Ferry Review, and Drunken Boat, Colleen Louise Barry is an artist and writer. in American Poetry Review, Boston Review, and Kenyon among others. Mary Gaitskill selected one of her Her work appears in The Rumpus, jubilat, H_NG- Review Online. stories as the winner of the 2013 SLS Unified Literary M_N, and other places. She is the author of the Contest. She earned her MFA in Fiction from the chapbooks Sunburn / Freezer Burn (2014) and The Karen Finneyfrock is the author of the young Iowa Writers' Workshop. Glidden Poems (2015). Come say hi: www.colleenlou- adult novel The Sweet Revenge of Celia Door (Viking isebarry.com. Children's Books) and Ceremony for the Choking Anne Liu Kellor has received support from Ghost (Write Bloody). She is a former writer-in-resi- Hedgebrook, Jack Straw, 4Culture, and Hypatia. Jericho Brown is the author of Please (New Is- dence at Hugo House and teaches for the Writers-in- Her essays have appeared in publications such as sues), which won the American Book Award, and The the-Schools program. Fourth Genre, Waking Up American: Coming of Age New Testament (Copper Canyon). He is the recipient Biculturally, Vela Magazine, Literary Mama, and The of a Whiting Writers Award and fellowships from the Waverly Fitzgerald has written fourteen novels Los Angeles Review. www.anneliukellor.com. Radcliffe Institute for Advanced Study at Harvard (nine published), one nonfiction book, and assorted University and the National Endowment for the Arts. short stories, poems, and essays. She has a fellowship Porochista Khakpour is the author of Sons and from Jack Straw; a grant from Artist Trust; and resi- Other Flammable Objects (Grove/Atlantic) and The Lauren Camp is the author of three poetry collec- dencies from Whiteley, Centrum, and Hedgebrook. Last Illusion (Bloomsbury). Her work has appeared in tions, including One Hundred Hungers, winner of the Harper's, The New York Times, The Los Angeles Times, Dorset Prize. She teaches creative writing through Kathleen Flinn is a New York Times bestselling Bookforum, The Paris Review Daily, and elsewhere. The Georgia O’Keeffe Museum, Poetry Out Loud, author, including The Sharper Your Knife, the Less You and privately in Santa Fe, New Mexico, where she Cry. She's written for dozens of publications such Keetje Kuipers, a former Stegner Fellow and lives. as Good Housekeeping, Smithsonian, and USA Today. Pushcart Prize winner, is the author of two collections She's taught at Hugo House since 2006. of poetry. She was a professor at Auburn University Marci Calabretta Cancio-Bello is the author and editor of Southern Humanities Review for four of Hour of the Ox (University of Pittsburgh Press), Stephanie Barbé Hammer is a four-time Push- years before leaving to write full-time. which won the 2015 AWP Donald Hall Prize for Po- cart Prize nominee in poetry, nonfiction, and fiction etry and the 2016 Florida Book Awards bronze medal as well as an award-winning teacher from the Univer- Sonya Lea’s Wondering Who You Are was a finalist for poetry. She holds a BA in English and Creative sity of California. Now a full-time writer, Stephanie for the Washington State Book Award and garnered Writing from Carnegie Mellon University and an lives in Coupeville but escapes to Seattle regularly. praise in Oprah Magazine, People, and the BBC. Her MFA in Creative Writing from Florida International essays have appeared in Salon, The Southern Review, University. Christine Hemp has aired her work on National Guernica, The Los Angeles Review of Books, and more. Public Radio’s Morning Edition and has performed as Bill Cart y has received fellowships from the Fine both poet and musician. Her awards include Harvard Kelly Link is the author of the collections Get in Arts Work Center, Artist Trust, and Hugo House. He University’s Conway Award for Teaching Writing, Trouble, Stranger Things Happen, Magic for Beginners, is the author of Huge Cloudy (forthcoming, Octopus and a Washington State Artist Trust Fellowship for and Pretty Monsters. She has received a grant from the Books). His poems have appeared in the Boston Re- literature. National Endowment for the Arts and was a finalist view, Ploughshares, Iowa Review, and other journals. for the 2016 Pulitzer Prize in Fiction for her short Tessa Hulls is an artist/writer/adventurer and has story collection Get In Trouble. Meghan Daum is the author of four books, most received grants from Washington Artist Trust, Seattle recently The Unspeakable: And Other Subjects of Office of Arts & Culture, and 4Culture. She has Alex Madison’s fiction and nonfiction have Discussion, which won the 2015 PEN Center USA worked in various capacities as an illustrator, cartoon- appeared in the Indiana Review, Salon, Bitch Media, Award for creative nonfiction. She is the recipient of ist, editor, performer, chef, muralist, conductor of The Rumpus, City Arts, and elsewhere. She is a recent a 2015 Guggenheim Fellowship and a 2016 National social experiements, painter, writer, and teacher. graduate of the Iowa Writers' Workshop. Endowment for the Arts fellowship. Ramon Isao is a recipient of the Tim McGinnis Stories from Corinne Manning’s collection, We Nicole Dieker is a freelance writer and Senior Award for fiction, and his work has appeared in the Had No Rules, have appeared in Story Quarterly, Editor at The Billfold. Her work has also appeared in Iowa Review, American Reader, Ninth Letter, and Calyx, Vol. 1 Brooklyn, Moss, The Bellingham Review, Lifehacker, The Write Life, and numerous other publi- Hobart. His screenplays include ZMD, Junk, and and Southern Humanities Review. Corinne founded a cations. Her debut novel, The Biographies of Ordinary Dead Body. journal that reimagined the publishing process called People, was published in May 2017. The James Franco Review. Sara Jaffe is the author of Dryland (Tin House). Esther Dischereit is a poet, novelist, essayist, Her short fiction and criticism have appeared in John Douglas Marshall is the author of Recon- and stage and radio dramatist from Germany. She Fence, BOMB, NOON, Paul Revere's Horse, match- ciliation Road, an award-winning family memoir. He received the Erich Fried Prize in 2009 and was a vis- book, and The Los Angeles Review of Books. She holds a was the longtime book critic for the Seattle Post-In- iting professor at the University of Virginia in 2017. BA from Wesleyan University and an MFA from the telligencer, where he interviewed many prominent She teaches at the University for Applied Arts in University of Massachusetts Amherst. memoir writers, including David Sedaris, Mary Karr, Vienna. Her participation in the University of Iowa's Nora Ephron, Elizabeth Gilbert. 16 J.W. Marshall’s collection, Meaning a Cloud, won Mary Lane Potter is the author of the novel A Anca L. Szilágyi’s debut novel, Daughters of the the Field Poetry Prize. He holds an MFA from Iowa Woman of Salt as well as Strangers and Sojourners: Sto- Air, is forthcoming from Lanternfish Press. She was Writers’ Workshop and an MA in Rehabilitation ries from the Lowcountry. She’s been awarded writing awarded the inaugural Artist Trust/Gar LaSalle Sto- Counseling from Seattle University. He has consider- residencies at MacDowell, Hedgebrook, and Caldera, ryteller Award, as well as grants and fellowships from able experience in the hospital setting as patient and and a Washington State Arts Commission/Artist Trust 4Culture, Made at Hugo House, and Jack Straw. volunteer. Fellowship. Julienne Van Loon is a novelist and essayist Sarah María Medina is a poet and a fiction/ Diana Raab, PhD is the author of two memoirs, from Australia and the author of the novel Harmless. creative nonfiction writer. Her writing has been Regina's Closet: Finding My Grandmother's Secret Jour- She won the Australian/Vogel’s Award and in 2005 published in Apogee, Prelude, Vol. 1 Brooklyn, PANK, nal and Healing With Words: A Writer's Cancer Jour- was shortlisted for the Commonwealth Prize First and elsewhere. She is an ARTIST UP Grant LAB re- ney; four poetry collections, including Lust; and her Book Award for Road Story. Her participation in the cipient for her poetry manuscript in progress Ochun's book Writing for Bliss: A Seven-Step Plan for Telling University of Iowa's International Writing Program is Daughter. She is also the poetry editor at Winter Tan- Your Story and Transforming Your Life is forthcoming made possible by the Paul and Hualing Engle Fund. gerine. www.sarahmariamedina.com | @LaHurakan from Loving Healing Press. Jodie Noel Vinson holds a MFA in nonfiction Susan V. Meyers’ first novel,Failing the Trapeze, Ingrid Ricks is an author, ghostwriter, and creative writing from Emerson College where she won the Nilsen Award and the Fiction Attic Press narrative writing consultant. Her memoirs include wrote a book on literary travel. Her essays have Award. She has received grants from the Fulbright The New York Times bestseller Hippie Boy and Focus, appeared in Ploughshares, Creative Nonfiction, The Get- Foundation, the National Endowment for the Hu- a memoir about her journey with the blinding eye tysburg Review, The Rumpus, and Nowhere Magazine, manities, 4Culture, Artist Trust, and several artists’ disease Retinitis Pigmentosa. Learn more at www. among other places. residencies. ingridricks.com or www.writeitoutloud.org Anna Vodicka’s essays have appeared in AFAR, Kristen Millares Young is a writer and jour- Mary Ruefle has written numerous books of Brevity, Guernica, Harvard Review, Longreads, nalist whose work has been featured by The Guardian, poetry, including My Private Property, Indeed I Was McSweeneys' Internet Tendency, Paste, and Best Women's The New York Times, KUOW 94.9-FM, Hobart, City Pleased with the World, and The Adamant, which won Travel Writing 2017. She has had residency fellow- Arts Magazine, Pacifica Literary Review, the Seattle the Iowa Poetry Prize. She is also the author of the ships to Vermont Studio Center and Hedgebrook. Post-Intelligencer, the Miami Herald, TIME Magazine, essay collection Madness, Rack, and Honey. She has and the Buenos Aires Herald. received fellowships from the National Endowment David Wagoner has published seventeen books of for the Arts and the Guggenheim Foundation, as well poems and ten novels. He is professor emeritus at the Peter Mountford’s novel A Young Man’s Guide as a Whiting Writers' Award. University of Washington and was writer-in-residence to Late Capitalism won a 2012 Washington State (2005-2008) at Hugo House. Book Award. His second novel, The Dismal Science, Erich Schweikher recently returned to Seattle was published in 2014. A former Hugo House after seven years of teaching and writing in Cincin- Jess Walter is a former National Book Award writer-in-residence, he is currently on faculty at Sierra nati, Ohio. He is editor of the annual poetry/poetics finalist, winner of the Edgar Allan Poe Award, and Nevada College's low residency MFA program. journal Northside Review. His work has appeared in the author of eight books, including, most recently, Hawai’i Pacific Review, Action Yes, and 42opus, among We Live in Water, Stories (2013) and Beautiful Ruins BJ Neblett is the author of Elysian Dreams and Ice others. (2012), a New York Times No. 1 bestseller and Nota- Cream Camelot and numerous short stories. He hosts ble Book of 2012. He also wrote The Financial Lives two blog sites: www.hereforaseason.blogspot.com for Solmaz Sharif is the author of Look (Graywolf of Poets in 2009, which was Time Magazine’s No. 2 poetry and www.bjneblett.blogspot.com for his stories Press), which was a finalist for the National Book novel of the year. and other writings. Award. Her work has appeared in The New Republic, Poetry, The Kenyon Review, jubilat, Boston Review, Deborah Woodard’s most recent poetry col- Theo Pauline Nestor is the author of Writing Witness, and others. She is currently a lecturer at Stan- lection is Borrowed Tales (Stockport Flats). She has Is My Drink (Simon & Schuster) and How to Sleep ford University translated the poetry of the distinguished Italian poet, Alone in a King-Size Bed: A Memoir of Starting Over Amelia Rosselli, most recently in Hospital Series (New (Crown). Nestor has taught the memoir certificate Michael Shilling is the author of Rock Bottom, Directions, 2015). course for the University of Washington’s Professional a novel published by Little, Brown. The musical adap- & Continuing Ed program since 2006. tation of the book was staged in 2014 by the Landless Carolyne Wright is the author of the award-win- Theater Company. His stories have appeared inThe ning anthology Raising Lilly Ledbetter: Women Poets Nicholas O'Connell, MFA, PhD, is the author Sun, Fugue, and Other Voices. Occupy the Workspace (Lost Horse Press). She lived in of The Storms of Denali and contributes to Newsweek, Chile and Brazil during Salvador Allende’s presidency, The New York Times, The Wall Street Journal, Conde Judith Skillman’s work has appeared in Shenan- has nine books of poetry, and has received Fulbright, Nast Travel, Food & Wine, and Outside. doah, Poetry, Zyzzyva, FIELD, and elsewhere. A new NEA, and 4Culture grants. book, Kafka's Thistles, is forthcoming from Deerbrook Michelle Peñaloza’s poetry has appeared or is Editions. Awards include an Eric Mathieu King Fund forthcoming in the New England Review, the Asian grant from the Academy of American Poets. www. American Literary Review, TriQuarterly, and else- judithskillman.com where. She is the recipient of fellowships and scholar- ships from Kundiman, Hugo House, and the Bread Beth Slattery is a writer and editor whose work Loaf Writers' Conference, among others. Peñaloza has has appeared in Assay: A Journal of Nonfiction Studies been teaching since 2005. and Southern Women’s Review. Before moving to Seattle, she taught creative writing for eighteen years Joe Ponepinto is the founding publisher of at Indiana University East. Tahoma Literary Review and teaches fiction at Tacoma Community College. His hybrid novel, Mr. Neutron, Kim Stafford is the author of a dozen books of will be published by 7.13 Books in spring 2018. His poetry and prose, including Early Morning: Remem- short stories have been published in many journals. bering My Father, William Stafford (Graywolf Press). He teaches writing and cultural inquiry at Lewis & Clark College in Portland, Oregon. 17 NONPROFIT ORG US POSTAGE PAID SEATTLE, WA PERMIT #1030 1021 COLUMBIA ST SEATTLE, WA 98104

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900 Madison St. Seattle, WA 98104

Proud sponsor of Ask the Oracle, a free quarterly Hugo House event in the Sorrento’s Fireside Room where a panel of writers answers audience members’ questions with passages from their books.