The Writer's Guide - Summer 2018 by The Writer's Center

Summer 2018

THE WRITERâ&#x20AC;&#x2122;S GUIDE

The Coney Island Book of the Dead First Novel Prize Winner pg 5 New Teen Classes pg

Workshops writer.org

Kensington’s 13th annual

Day of the Book Festival Sunday, April 22 11-4pm

STREET FESTIVAL Rain or Shine

Howard Avenue Old Town Kensington, MD Over 80 authors! Plus book vendors, artists, groups, and publishers

Live Music * Poetry Readings

* Special Guest Speakers *

Children’s Program & Activities *

* Chess * Cooking Demos * Food Trucks * and much more! Family friendly ... something for everyone!

www.dayofthebook.com

kensingtonbookfestival18@gmail.com * 301-949-9416 Co-hosted by the Town of Kensington and the Pauli Bellet Catalan Library

The Writer’s Center The Writer’s Guide Summer 2018

writer.org

DEPARTMENTS A NOTE FROM THE DIRECTOR 4

INSTRUCTOR BIOS 25

WORKSHOPS:

FROM THE WORKSHOPS 28

Guidelines 12 Schedule 13 Descriptions 17

Editor

Laura Spencer Contributors

BOOKTALK 32

Jody Bolz Mari G. Craig Elizabeth Cummings Alice W. Lee Bernadette McConville Grace Mott Joe Oppenheimer B. Rae Perryman Charlotte Smutko Suzanne Zweizig

REGISTRATION 39

FEATURES 5 First Novel Prize Winner Sheila Martin, author of The Coney Island Book of the Dead, shares what it was like to write her first novel.

8 Poetry and Baseball

Graphic Design

Poet Lore Executive Editor E. Ethelbert Miller discusses his new collection of poems, If God Invented Baseball, and his life as a poet and sports fan.

Virtually Detailed, Inc. Copyeditors

10 Supporting the Next Generation

Zach Powers Laureen Schipsi

We celebrate our partnership with Writopia Lab by publishing the work of Barbara Weaver, winner of our sponsored scholarship.

34 Found In Translation Poet Lore Executive Editor Jody Bolz and Translation Editor Suzanne Zweizig reflect on the rich tradition of featuring poetry in translation, introducing poets from far reaching places.

Cover Image

Illustration from the cover of The Coney Island Book of the Dead, courtesy of Narrioch Books.

36 Inside the Theatre Learn more about the resident companies that rent our historic black box theatre.

“Old abandoned room.” ©Brian Mundy

The Writer’s Center

cultivates the creation, publication, presentation, and dissemination of literary work. We are an independent literary organization with a global reach, rooted in a dynamic community of writers. As one of the premier centers of its kind in the country, we believe the craft of writing is open to people of all backgrounds and ages. Writing is interdisciplinary and unique among the arts for its ability to touch on all aspects of the human experience. It enriches our lives and opens doors to knowledge and understanding. The Writer’s Center is a 501 (c) (3) nonprofit organization. Donations are tax deductible. A copy of our current financial statement is available upon request. Contact The Writer’s Center at 4508 Walsh Street, Bethesda, MD 20815. Documents and information submitted to the State of Maryland under the Maryland Charitable Solicitations Act are available from the Office of the Secretary of State for the cost of copying and postage.

for the most up-to-date news and information, visit www.writer.org

A NOTE FROM THE DIRECTOR committees (Development, Financial, Renovation); providing fiscal oversight by approving annual budgets and audits; serving as ambassadors to the DMV literary community by raising awareness of our programs and mission; and making an annual financial contribution. The Writer’s Center board meets six times annually. Contact Board Chair John Hill ( jdomars@aol.com) with a letter of interest and your resume. Annual Fundraising Victory for 2017 Elizabeth Cummings

he Writer’s Center welcomes the summer season with a variety of new workshops and volunteer activities. We are excited for our next steps and look forward to further engaging our community! Summer Season – Workshops for Teens The Writer’s Center is offering summer workshops to support and engage the next generation of writers. We are offering a range of courses to support teens (ages 14-17), including Writing the College Essay, Creative Writing for Teens, Fearless Writing, and an online Fiction Summer Camp. These workshops accompany our other teen-focused programs including the Teen Open Mic Night (Friday evenings) and the annual high school writing contests. Our goal is for our Bethesda location to serve as a safe space (and parent-free zone) for the local teen writing community. Join our Board The Writer’s Center is looking for volunteers to serve on our Board of Directors. This is a unique opportunity to support the literary arts. Board members support the Center’s mission in a variety of ways, including serving on

We are so incredibly lucky to have our community’s support for all that we do. Our end of year annual fundraising campaign led us to a much-needed donation of funds from Laureen Schipsi and Tom Bolling to purchase new computer workstations. Our staff was battling woefully outdated technology and operating systems. Donations from our community are an important piece of our overall operating budget, and every dollar counts. Our Board of Directors were also instrumental in this effort, by replacing the server in September. We are grateful to everyone who pitched in. Renovation The long-awaited ADA compliance renovation will commence at our Walsh Street location this spring. This project includes the re-working of the building entrance inside and out to include a switch-back ramp (outside) and a lift in the lobby area. We will also reconfigure the upstairs office spaces to ensure ADA accessibility and a healthy working environment for the staff. We are expecting this to be a six month construction project. During this time, access to the writer studio, classrooms, and theatre will be suspended. We look forward to welcoming our community back to the new, improved space in the Fall of 2018. We will host our Bethesda workshops at the Bethesda Chevy Chase Regional

The Writer’s Center Services Center (4805 Edgemoor Lane) during this time. Our administrative offices will remain on-site. We are fortunate to have the support of the State of Maryland and Montgomery County for this ADA upgrade. Poet Lore Good news on the Poet Lore front! We recently welcomed volunteer Managing Editor Laureen Schipsi. Laureen has been in art and education publishing for 25 years. She has served as director of publishing at both the Menil Collection and the National Museum of Women in the Arts. She has produced award-winning publications, including exhibition catalogs, museum histories, and a membership magazine. Her project management experience includes text and photo editing, writing, art directing, production management, marketing, and grant writing. She earned her bachelor’s degree in literature at the University of California at Santa Barbara and her master’s degree in writing (poetry) at the Johns Hopkins University. The Future is Bright We will be kicking off the 2018 fundraising effort with two very important projects that are in need of support: building renovation and a new website. The majority of the funding for the renovation is in place with capital improvement grants from the state and county, with additional funds needed for landscaping and furniture. As many of our constituents are aware, The Writer’s Center website is long overdue for an overhaul as many commonplace functions are not available or outdated. We very much hope our generous members will rally around these causes and donate, as we believe they will be the finishing touches in maintaining a topnotch haven for the literary community.

Workshop & Event Guide Summer 2018

2017 First Novel Prize Winner Sheila Martin

t’s the beginning of summer at Coney Island in the 1950s: the rides are whirring and cranking, kids are screaming and laughing, the smells of Nathan’s Famous hot dogs and sea water hang in the air. In The Coney Island Book of the Dead, the most recent winner of the McLaughlin-EsstmanStearns First Novel Prize, Sheila Martin draws from her own memories to create the character of Brooklyn, a spunky 11-year-old who goes on a magical chase to find a mysterious blues singer who may or may not be real. Brooklyn narrates the story with a voice that conveys both innocence and eloquence as she deals with her abusive aunt, her missing cousin, and the old woman who rents the upstairs room in the house she shares with her mentally ill mother. To add to the magic, each chapter includes a painting done by Sheila herself, who is originally a painter and only recently has begun to write. Her debut novel is a triumph; it’s beautifully strange, vivacious, whimsical, and a bit dark. We spoke to Sheila about her prize-winning novel, her art, and her influencers. What was your inspiration for the book? Did the idea come all at once, or did it develop as you wrote? It came mostly from growing up in Coney Island and the many oddball people I knew back then, and to a

lesser degree from living in Memphis for the past twenty-six years. The idea developed slowly after I did a number of paintings inspired by Coney Island. It occurred to me to write down a few of my memories. I think a lot of people start writing this way, though they usually go on to write memoirs. After a while I thought maybe I could turn it into something publishable, so I turned to fiction. When did you first realize you wanted to be a writer? I’ve always been a visual artist and as a kid I had a knack for story-telling. When I was in the second grade I wrote a fictionalized memoir with scary pictures. In my working life I used to be a graphic designer before I took very early retirement so I could paint full-time (thanks to my husband Jim). I was also inspired by a talk by Allen Ginsberg in 1993. Shortly after that I started writing down my memories and eventually the Coney Island stories, which was the first fiction I ever wrote. That’s when I got hooked.

Photo by Jim Blythe

ence for me. I print out sections to see how the words look on paper, then edit from that. It’s very important that they look right. Did you weave any of your own personality into your characters?

I drew on memories, sure, but Brooklyn is probably smarter and spunkier than I was. I really was fascinated by the music bar on the boardwalk, but I How do your art and writing influ- never could sing and I never had a dog. ence one another?

As for painting, not much. Some of the paintings are intentional illustrations, like the one of Mississippi, but most of them are visions inspired by Coney Island. But there’s another connection—writing is a graphic experi-

for the most up-to-date news and information, visit www.writer.org

What was your favorite scene to write? What was your hardest scene to write? There weren’t any. I rewrote them all more times than I can remember and

every time was fascinating. A couple of scenes felt cathartic—Brooklyn singing in chapter 19 and the musical duel. Growing up did you have authors that influenced you? When I was very young I had a book called The Little Golden Book of Verse. It had “The Swing” in it by Robert Louis Stevenson. I’ve tried to find that book online, but can’t. I think I could still draw some of the illustrations from memory. I also loved “The Rime of the Ancient Mariner” by Samuel Taylor Coleridge. I even memorized part of it when I was a child. In writing this novel, I was influenced by To Kill a Mockingbird by Harper Lee.

In general, I’m influenced by many modern writers such as Francine Prose, T.C. Boyle, Alison Lurie, George Saunders, Jennifer Egan, and Mary Karr. What advice would you give firsttime authors? If they are young—in high school— I’d recommend they major in creative writing in college, if for no other reason than they would at least have a few years to write before they have to get a job. I’m probably saying this because I had such a blast in art school. If they’re starting late in life, like I did, I’m not sure. When I started writing at about age fifty, I realized there was a lot I didn’t know, but I had no

idea how much. I read books on writing and a lot of fiction. Then, when I had a big, messy, overwritten body of work full of purple prose I engaged master fiction editor, Renni Browne, coauthor of the classic Self-Editing for Fiction Writers to help me work it into something readable. I was thrilled when she agreed to take it on. I learned a tremendous amount from her. I never took a writing class (which doesn’t mean you shouldn’t). I got most of my writing education from Renni. I highly recommend her book. What’s next for you? What are you working on now? I’d been writing and painting for The Coney Island Book of the Dead for

Workshop & Event Guide Summer 2018

about twenty years. I wrote reams and reams of subplots with major characters that didn’t make it into the final version. I was sad when it was finally done, so I wrote another novel, The Time Artist. I’ve been trying to get an agent to represent it and have had some close calls. I was also inspired to write fourteen short and flash fiction stories right after I finished The Time Artist, and have been sending them and novel excerpts to journals. I know it’s off topic, but I want to say what a thrill it’s been to win the McLaughlin-Esstman-Stearns First Novel Prize. I’ve never won anything before. I didn’t even tell anyone except my husband for three days in case it wasn’t really true. I want to especially thank Grace Mott and everyone at The Writer’s Center for all their support.

About the First Novel Prize

ach year, The Writer’s Center awards $1,000 to the author of an exceptional first novel published in the previous calendar year. Conceived and funded by former board member Neal P. Gillen, the McLaughlin-EsstmanStearns First Novel Prize honors the late Ann McLaughlin, along with dedicated writers and members of The Writer’s Center faculty Barbara Esstman and Lynn Stearns. Books are judged on a number of criteria, including but not limited to quality and originality of character, setting, plot, and language. Sheila’s prints can be purchased on her website, sheilapmartin.com. You can purchase your copy of The Coney Island Book of the Dead on Amazon.

for the most up-to-date news and information, visit www.writer.org

Poetry and Baseball

Photo by Rick Reinhard

oet Lore Executive Editor and TWC Honorary Board Member E. Ethelbert Miller has hit another home run with his 16th book, If God Invented Baseball. Drawing on his love of sports and baseball’s zen-like quality, the 49 poems in Miller’s new collection center around America’s favorite pastime. We caught up with the Bard of Baseball just in time for spring training, to pick his brain on his two loves. This is your 16th book and your first about baseball. What separates these poems from your prior works? I’ve become a better writer after years of editing and teaching. I felt when my collected poems edited by Kirsten Porter and published by Willow Books (2016) came out it marked the end of

a chapter in my life. Many of those poems were written during my 40-year tenure at Howard University. Since departing from Howard I’ve grown considerably as a result of new opportunities and having more time to read and write. The increase in my leisure time has provided a chance to watch and attend more baseball games. I like how If God Invented Baseball is a collection built around one theme. One will find in this book the game explored from many angles and in a variety of poetic forms. I’ve always made references to baseball in my work but this new book is an expansion of love. Who is your favorite team? Favorite player of all time? I’m a Washington Nationals fan. I’m happy baseball returned to this city before my last inning. All major cities need ballparks and teams that help develop a sense of community. Look at the importance of the Houston Astros winning the World Series last year after the city of Houston was hit with a terrible hurricane. I love that the Nats play just a subway ride away. Growing up I lived not far

from Yankee Stadium in the Bronx, so the Yankees were the team I cheered for during my childhood. There are many references to people who played for the New York Yankees in my new book. But I guess my heart will always have a special place for Sandy Koufax who pitched for the Dodgers. When Ichiro Suzuki entered the major leagues in 2001 he was the player I began to follow daily. But going back to my favorite team The Nationals, I’m a fan of Bryce Harper, Trea Turner and Michael A. Taylor. Oh, and I miss Dusty Baker. How is baseball like poetry for you? What do the disciplines have in common, and what makes baseball so compelling to write about? Baseball teaches one patience. Getting a hit is like trying to find the right word. Striking out can be like writer’s block. Standing alone in the outfield can be as lonely as sitting at one’s desk. We all want to make it to the majors; we want to be successful and win. Baseball instructs us that the majority of the time we won’t get a hit; we will seldom pitch the perfect game. Baseball reminds us that we are human, and we make not just mistakes but errors. I find baseball compelling because it teaches me how to embrace aging. Every year there is spring training. An older returning player never knows if this is the season a youngster might take his

Workshop & Event Guide Summer 2018

place on the roster. We are all replaceable. I take comfort in the slowness of the game. I admire the beauty of a great fielding play or a majestic homerun. Trying to capture this on the page is what I attempted to do in my new book.

I always wear one of his NCAA rings. I admire my daughter for her passion for running and her discipline. Now that both of my children are married I look back at the past and realize it’s been a lifelong journey of not just loving baseball but other sports too. Maybe I knew I would be a lifelong fan after walking into Yankee Stadium as a young boy and looking at a field of green, a sea of grass.

What is your writing process like? Do you have advice for budding (or established) poets? I’m always writing, especially on social media. Some of my poems begin with letters to friends. Lines start in emails and get posted on Facebook. I’ve written more poems in the last two years than at any other point in my life. I write fast and revise when I’m sending things out for publication. I’ve been deeply grateful to have my friend Kirsten Porter work as my literary assistant. She is always providing excellent feedback on the new work I create. I’ve been visiting museums more and spending time with visual artists. This has helped me look at poetry in terms of color and white space on the page. My daughter has returned to drawing, and we’ve begun to have nice conversations around her work. I think it’s very important for poets and writers to be engaged with our changing world. I’ve been trying to add more science and technology to my diet. I want to create art that embraces the new while respecting the past. My advice to writers is that they always attempt to tackle the big philosophical questions – Who are you? Why are you here? When did you first know you were a poet? The idea of becoming a writer started during my college years at Howard. I

What’s next for you? I want to see the public response to If God Invented Baseball. Maybe this is the book that will finally bring me a World Series ring. In the preface to the book I made the following comment: “I admire Dusty Baker and should have written this book with a toothpick in my mouth.” gave my first public reading in 1969 at All Soul’s Church located in Northwest Washington. I read with poets Carolyn Rodgers, Askia Muhammad Toure, and Ebon. The jazz musician Marion Brown also performed that evening. My early poems were published in the college newspaper (The Hilltop) and read on the radio (WHUR-FM). Having an audience will encourage you to believe in yourself.

Dusty is no longer the Nats manager but what is baseball if not memories of the good times and the people that we loved?

When did you first know you’d be a lifelong baseball fan? Was there a moment you remember going, “This is it for me”?

If God Invented Baseball is available now from City Point Press.

I love sports. One of things I most enjoyed was watching my son play basketball in high school and in college. He remains my favorite basketball player. I keep a picture of him on my desk and

for the most up-to-date news and information, visit www.writer.org

For more information on Ethelbert, go to www.ethelbertmiller.com

Supporting the Next Generation T

he Writer’s Center recently partnered with Writopia Lab to be a sponsor for their annual Metro Scholastic Art and Writing Awards, the nation’s largest and most prestigious teen writing competition. We were pleased to award a $100 scholarship to Barbara Weaver, a 7th grader at Holy Trinity School in Georgetown for her humor piece, Dear Mrs. Wellington. There is little doubt that Barbara is on her way to a career in writing! Below is the award winning piece.

Executive Director Elizabeth Cummings and scholarship winner Barbara Weaver at the award ceremony on March 4, 2018.

Dear Mrs. Wellington, I am very sorry about your cat. It was such a horrible shame that it disappeared for two days until it was found in the woods behind your house. Dyed a nasty shade of green. Which I’m pretty sure was non-toxic, but that’s just what I heard. Unless the reason it died the next day was because of toxic ink. Like your other cat. I think that one died due to intoxication, probably not ink related. Or maybe it was suffering from a weird disease. Oh, wait... I don’t think I was supposed to bring back your first cat’s death. I’m sorry for your green cat. And for bringing up your dead diseased cat. Sorry. And by the way, I was wondering if I could get extra credit on the English essay for this? The one on “And Then There Were None” that counts for 30% of our grade this quarter? Just ’cause I don’t think anyone else would have thought to write a letter to you. I mean, it was your cat. Not a lot of people would go into mourning for a cat... And organize a funeral for it. I mean, it was cute, but it was also kind of a ditz. I remember when you brought it to class and it started chewing on the table legs. And then it mauled Annika’s legs when she tried to sit down. I think Annika got rabies or something like that. Rabies would explain why it was acting so weird. ------------------------My mom is saying I can’t send this letter. I will try again. ------------------------Dear Mrs. Wellington, I am sorry your cat died. It’s honestly very tragic and it brought all of us down. It reminds you of how sometimes things don’t work out. Like when your nephew dropped out of high school. That didn’t work out. Doesn’t he still live in his step-dad’s basement? Speaking of failing classes, I really need extra credit.

Workshop & Event Guide Summer 2018

------------------------Maybe not. ------------------------Dear Mrs. Wellington, I am so sorry to hear about your cat. I can’t believe it died. It seems like just yesterday you brought it to class and it mauled your students and tables. The way it ruined everything it touched reminded me of a blind neurosurgeon. Who would do better at his job than you did, giving me a D minus on my essay for some stupid issue on how “correct” it was. I swear it was the illuminati! The doctor said the judge already died! Maybe you didn’t get the book at all! ------------------------Okay, this is getting harder than that essay. I will start over one more time. ------------------------Dear Mrs. Wellington, I am very sorry your cat(s) died. Their deaths were such tragic coincidences. Condolences. Sincerely, Mark Shawn, who really needs some extra credit. Just saying. ------------------------...maybe I could just... ------------------------Dear Mrs. Wellington, Hello. It’s Mark from 6th grade. I am sending you this letter to discuss the English essay. How could I get extra credit for it? Sincerely, Mark Shawn. ------------------------Dear Mark, Thank you for your letter. Unfortunately it is too late for extra credit - the grades were final after last night. But I have good news: I just found a new pal. He was named after my beloved third husband, may he rest in peace. Armand, the cat, loves it when I dress him up as Armand Sr. I will introduce him to the 6th grade class next week! P.S. We may have to cancel the field trip to the ropes course because of that. Meow, Mrs. Wellington

for the most up-to-date news and information, visit www.writer.org

WORKSHOP GUIDELINES WORKSHOP GUIDELINES Learning to write is an ongoing process that requires time and practice. Our writing workshops are for everyone, from novices to seasoned writers looking to improve their skills, to published authors seeking refinement and feedback, to professionals with an eye on competition. Group settings encourage the writing process by teaching writers to prioritize and to help each other using many skills at once. From our workshops, participants can expect: • Guidance and encouragement from a published, working writer; • Instruction on technical aspects such as structure, diction and form; • Kind, honest, constructive feedback directed at individual work; • Peer readers/editors who act as “spotters” for sections of writing that need attention, and who become your community of working colleagues even after the workshop is completed; • Tips on how to keep writing and integrate this “habit of being” into your life; • Tactics for getting published; • Help with addressing trouble areas and incorporating multiple, sometimes conflicting, ideas into a revision.

• Identifying your writing strengths and areas of opportunity and • Gaining beginning mastery of the basic tools of all writing, such as concise, accurate language, and learning how to tailor them to fit your style.

INTERMEDIATE LEVEL These workshops will build on skills you developed in the beginner level, and are designed for writers who have: • Critiqued some published works; • Taken a beginner-level workshop; • Achieved some grace in using the tools of language and form and • Have projects in progress they want to develop further.

ADVANCED LEVEL Participants should have manuscripts that have been critiqued in workshops at the intermediate level and have been revised substantially. This level offers: • Focus on the final revision and completion of a specific work; • Fast-paced setting with higher expectations of participation and • Deep insight and feedback.

MASTER LEVEL

BEGINNER LEVEL We strongly suggest that newcomers start with a beginner-level workshop. They are structured to help you discover the fundamentals of creative writing, such as: • Getting your ideas on the page; • Choosing a genre and the shape your material should take; • Learning the elements of poetry, playwriting, fiction, memoir, etc.;

Master classes are designed for writers who have taken several advanced workshops and have reworked a manuscript into what they believe is its final form. Master classes are unique opportunities to work in smaller groups with distinguished writers on a specific project or manuscript. Workshop leaders select participants from the pool of applicants; selection is competitive.

The Writer’s Center REGISTRATION Workshop registration is available online at www.writer.org, in person at The Writer’s Center, via mail, online, or by phone at (301) 654-8664.

credit/refund policy • Full refunds are given only when TWC cancels a workshop. • Workshop participants will be notified via email when a class is cancelled, and recieve the option of a refund or credit. • Workshop participants who have enrolled in and paid for a workshop and choose to withdraw from it within the drop period (see below) will receive a full credit to their account that can be used within one year to pay for another workshop and/or a membership. Please email grace.mott@writer.org to request a credit.

New Teen Classes The Writer’s Center believes that writers of all ages need support! That’s why we’ve added a selection of workshops for individuals between the ages of 14 and 17. Browse our complete list of offerings on page 17.

Drop Period for Credit 5 or more sessions: 48 hours notice required before the second meeting 4 or fewer sessions: 48 hours notice required before the first meeting 12

Workshop & Event Guide Summer 2018

TEEN WRITING (PAGE 17)

LEADER

DATES

DAY

TIME

LEVEL

Beginning Fantasy Fiction

Brenda W. Clough

5/12–5/19

1–3 p.m.

Fearless Writing for Teens

Laura Di Franco

6/14

6:30–9:30 p.m.

ALL

Writing the College Essay

Jennifer Buxton

6/18–6/28

M/Th 7–9:30 p.m.

Getting Started: Creative Writing for Teens *

Patricia Gray

6/18–6/21

M-Th 1–3:30 p.m.

B/I

Writing the College Essay

Jennifer Buxton

7/9–7/19

M/Th 7–9:30 p.m.

ALL

Short Story for Teens

Caroline Bock

7/9–7/12

M-Th 10:30 a.m.–12:30 p.m. ALL

How to Tell a Story in a Poem

Jacqueline Jules

7/25–8/8

1–3 p.m.

Writing the College Essay

Alyce Miller

8/1

10:00 a.m.–2:00 p.m.

ALL

ADULTS WRITE FOR CHILDREN (PAGE 17)

LEADER

DATES

DAY

TIME

LEVEL

Picture Books II: Revision

Mary Quattlebaum and Joan Waites

6/5

6:30–9:30 p.m.

I/A

Creating Your Book for Children *

Peter Mandel

6/25

7–9:30 p.m.

ALL

FICTION (PAGES 17–20)

LEADER

DATES

DAY

TIME

LEVEL

Beginning Fantasy Fiction

Brenda W. Clough

5/8–5/15

7:30–9:30 p.m.

4 Stories/4 Weeks

Caroline Bock

5/15–6/5

10:30 a.m.–1 p.m.

ALL

How to Write a Novel

John DeDakis

5/16

10 a.m.–12 p.m.

B/I

From Novice to Novelist

John DeDakis

5/19

10 a.m.–4 p.m.

Fiction II: Work-in-Progress

Con Lehane

5/23–7/18

7-9:30 p.m.

I/A

How to Write a Novel *

John DeDakis

5/30

10 a.m. –12 p.m.

B/I

Elements of Fiction

Jennifer Buxton

6/2–6/23

10 a.m.–12:30 p.m.

B/I

From Novice to Novelist *

John DeDakis

6/2

10 a.m.–4 p.m.

Revising Your Story

Alyce Miller

6/4

7–10 p.m.

I/A

The Extreme Novelist II: Revision

Kathryn Johnson

6/6–8/1

7–9:30 p.m.

Writing the Horror Story

Alex Smith

6/6–7/18

6–8 p.m.

ALL

Write-In

Julie Wakeman-Linn

6/6

7–9 p.m.

ALL

Self-Editing Strategies

Aaron Hamburger

6/12–6/19

7–9 p.m.

ALL

Polish for Publication

Julie Wakeman-Linn

6/13

7–9 p.m.

ALL

B—beginner

I—intermediate

A—advanced

M—master

ALL—all levels

—online class

* Indicates workshops held at one of our satellite locations. Please see descriptions for more information. for the most up-to-date news and information, visit www.writer.org

SCHEDULE

SUMMER WORKSHOP SCHEDULE

The Writer’s Center

SCHEDULE

FICTION (CONTINUED)

LEADER

DATES

DAY

TIME

LEVEL

Your First (or Next) Novel

Kathryn Johnson

6/16

10 a.m.–12:30 p.m.

ALL

Novel Openings *

Nicole Miller

6/16–7/14

10:30 a.m.–2 p.m.

I/A

Writing Characters You Love to Hate

Alyce Miller

6/23

10 a.m.–2 p.m.

I/A

Create a Story in an Hour!

Julie Wakeman-Linn

6/27

7–9 p.m.

ALL

Conflict & Tension

Kathryn Johnson

7/14

10 a.m.–12:30 p.m.

ALL

Beginning Fantasy Fiction

Brenda W. Clough

7/19–7/26

7:30–9:30 p.m.

Troubleshoot Your Submissions

Kathryn Johnson

7/28

10 a.m.–12:30 p.m.

ALL

Point of View *

Nicole Miller

8/4

11:00–4:00

ALL

MIXED GENRE (PAGES 20–21)

LEADER

DATES

DAY

TIME

LEVEL

Writing the Thing You’re Afraid to Write

Laura Di Franco

5/15

6:30–9 p.m.

ALL

Fiction and Nonfiction Narratives

Susan Land

5/18–6/22

10 a.m.–12:30 p.m.

Writing Reality Based Fiction

Kathryn Johnson

5/26

10 a.m.–12:30 p.m.

ALL

Precision in Language

Virginia Hartman

5/26

1–4 p.m.

ALL

Building Character *

Nicole Miller

6/2

11 a.m.–4 p.m.

ALL

Writers Residencies & Retreats 101

Christine Koubek

6/2

10:30 a.m.–1 p.m.

I/A

In the Air: The Atmosphere Workshop *

Nicole Miller

6/9

11:00 a.m.–4 p.m.

ALL

Writing Summary and Scene

Alyce Miller

6/28

12–4 p.m.

I/A

How to Write a Lot

Kathryn Johnson

6/30

10 a.m.–12:30 p.m.

ALL

Point of View

Alyce Miller

7/10–7/17

10 a.m.–1 p.m.

ALL

Writing as a Path to Healing

Laura Di Franco

7/10

6:30–9 p.m.

ALL

Getting Started: Creative Writing *

Patricia Gray

7/21–7/28

1–4 p.m.

Before You Write *

Solveig Eggerz

8/4–8/25

10 a.m.–12:30 p.m.

ALL

NONFICTION (PAGES 21–22)

LEADER

DATES

DAY

TIME

LEVEL

The Zen of Writing

Susan Tiberghien

5/4

10:30 a.m.–12:30 p.m. ALL

Blending Fictional Techniques with Memoir

Alyce Miller

5/12

10 a.m.–2 p.m.

ALL

Writing from Life

Ellen Herbert

5/16–7/11

10:30 a.m.–1 p.m.

ALL

Beginners’ Travel Writing

Bijan C. Bayne

5/24–6/28

6:30–8 p.m.

B/I

The Art of the Personal Essay

Alyce Miller

6/2–6/16

10 a.m.–2 p.m.

ALL

Writing Memoir: Getting Started

Marilyn W. Smith

6/25–6/29

M-F

10:30 a.m.–12:30 p.m. ALL

Workshop & Event Guide Summer 2018

NONFICTION (CONTINUED)

LEADER

DATES

DAY

TIME

LEVEL

Narrative Nonfiction II

Gina Hagler

6/12–7/24

7–9:30 p.m.

The Writer’s Toolbox

Sara Mansfield Taber

6/27–8/8

1–3:30 p.m.

ALL

POETRY (PAGES 22–23)

LEADER

DATES

DAY

TIME

LEVEL

Steal Like an Artist!

Kurt Olsson

5/15–6/26

7–9:30 p.m.

I/A

Making It Whole: Poetry Chapbook

Anne Becker

5/19–6/30

11 a.m.–2 p.m.

Imagery: How the Poem Thinks

Melanie Figg

5/26

1–4 p.m.

ALL

3 Poems in 4 Days

Patricia Gray

6/4–6/7

M-Th 1–3 p.m.

The Engine of Syntax

Melanie Figg

6/23

1–4 p.m.

ALL

Sonnet Crash Course

Claudia Gary

6/23

11 a.m.–1:30 p.m.

B/I

How to Tell a Story in a Poem

Jacqueline Jules

7/10–7/17

7–9 p.m.

The Poem Comes Alive *

Sandra Beasley

7/11–8/15

7–9 p.m.

I/A

Villanelle Crash Course

Claudia Gary

7/14

11 a.m.–1:30 p.m.

B/I

Making Effective Line Breaks

Melanie Figg

7/28

1–4 p.m.

ALL

Sonnets and Villanelles II

Claudia Gary

7/28

11 a.m.–1:30 p.m.

Meter Crash Course

Claudia Gary

8/11

11 a.m.–1:30 p.m.

ALL

PROFESSIONAL WRITING AND PUBLISHING (PAGES 23–24)

LEADER

DATES

DAY

TIME

LEVEL

How to Pitch Personal Essays to Magazines

Christine Koubek

5/31

7–9:30 p.m.

B/I

Landing a Literary Agent

Eva Langston

6/18–6/25

7–9:15 p.m.

ALL

You Wrote Your Book - Talk About It!

Rob Jolles

6/30–7/7

12–2 p.m.

ALL

Writing a Nonfiction Book Proposal

John Lingan

7/9–7/16

7–9 p.m.

ALL

How to Write Grant Proposals

Cara Seitchek

7/14–7/28

1:30–4 p.m.

ALL

How to Write a Business Book

Rob Jolles

8/6–8/27

6–8 p.m.

ALL

Write Like the News

Hank Wallace

8/23

7–9 p.m.

ALL

STAGE AND SCREEN (PAGE 24)

LEADER

DATES

DAY

TIME

LEVEL

Writing For Film and TV *

Khris Baxter

5/12

10 a.m.–4 p.m.

ALL

B—beginner

I—intermediate

A—advanced

M—master

ALL—all levels

—online class

* Indicates workshops held at one of our satellite locations. Please see descriptions for more information. for the most up-to-date news and information, visit www.writer.org

SCHEDULE

SUMMER WORKSHOP SCHEDULE

The Writer’s Center

SCHEDULE

ONLINE

LEADER

DATES

LEVEL

Intro to the Novel

Tammy Greenwood

4/27–6/15

Plotting Your Novel

Tammy Greenwood

5/4–5/25

ALL

Introduction to the Short Story

Christopher Linforth

5/14–7/2

Writing Creative Nonfiction

Christopher Linforth

5/14–7/2

ALL

Getting Started: Creative Writing

Mathangi Subramanian

5/14–6/4

Foundations of Poetry

Meg Eden

5/14–6/4

B/I

Writing Trauma Narratives

Shanon Lee

5/21–6/25

ALL

Introduction to Flash Fiction

Tara Campbell

6/1–6/22

B/I

Classical Mythology

Carolyn Clark

6/4–6/25

ALL

Finding Your Memoir Voice

Emily Rich

6/4–7/9

Intro to Epistolary Fiction

Mathangi Subramanian

6/11–7/2

Crafting Short Stories

Christopher Linforth

6/18–8/6

Story Craft!

Hildie Block

6/18–7/23

ALL

Pitching In The Age Of Digital Media

Shanon Lee

6/25–7/9

ALL

Summer Writing Camp for Teens

Tammy Greenwood

6/29–8/3

B/I

Intro to the Novel

Tammy Greenwood

6/29–8/17

Flash Fiction II

Tara Campbell

7/9–7/30

I/A

Publishing in Literary Magazines

Meg Eden

8/6–8/27

ALL

An Irish Twist on William Shakespeare’s A Midsummer Night’s Dream Adapted and Directed by Stephanie Mumford & Leah Mazade

July 25 – August 12, 2018, at the old Round House Theater in Silver Spring 301-816-1023 QuotidianTheatre.org

Workshop & Event Guide Summer 2018

WORKSHOPS For THE MOST UP-TO-DATE INFORMATION & class descriptions, please visit WWW.writer.org workshop, we will cover a broad range of topics: getting started, keeping going, and revising that finished product. But mostly we will write, working toward the completion of either a short story or chapter of a novel.

Beginning Fantasy Fiction Brenda W. Clough Vampires, zombies, and halflings with swords! Come pick a world and write in it! The first session of this workshop will be devoted to the basics of fiction and story construction. In the second session, participants will do a start-up exercise to help get them started on a possibly longer work. 2 Saturdays 1–3 p.m. Bethesda Beginner

5/12–5/19 $80

Fearless Writing for Teens Laura Di Franco Build confidence, self-esteem and courage in this rulebreaking workshop. Teens will enjoy exploring writing from an authentic, embodied place where a connection to their intuition helps guide their storytelling. We’ll discuss topics such as awareness, the inner critic and how to use fear as a compass to assist you in writing the stories that matter the most. You’ll walk away with a new level of awareness, courage and inspiration that will change your writing game! 1 Thursday Bethesda

6:30–9:30 p.m. All Levels

6/14 $50

Writing the College Essay Jennifer Buxton Discover the secrets of the college application essay. And yes, there are secrets. Learn what to do, what to avoid, and above all how to make your essay memorable. Each participant will take one essay through several drafts, and come away with the skills needed to tackle the others. Don’t worry: you got this! 2 Mon/Thurs 7–9:30 p.m. Bethesda Beginner

6/18–6/28 $195

Getting Started: Creative Writing for Teens Patricia Gray This workshop will help you explore how to write stories, poems, personal essays, or creative diary entries! You’ll be able to speak in the voice of one of your characters, rearrange found phrases to make a poem, or just write a story backward. Even if you’ve been writing since you first learned how, this workshop will further your knack for the kind of creative journey you really want to take. At workshop’s end, you’ll have three creative pieces to show to anyone who wants to know how you spent your summer. 1 Mon-Thurs Hill Center



1–3:30 p.m. Beginner/Intermediate

6/18–6/21 $195

Summer Writing Camp for Teens

Tammy Greenwood A virtual fiction writing camp for teens! Whether you are interested in writing short stories or novels, in this

8 Weeks Online

N/A 6/29–8/3 Beginner/Intermediate $360

Writing the College Essay Jennifer Buxton Discover the secrets of the college application essay. And yes, there are secrets! Learn what to do, what to avoid, and above all how to make your essay a memorable reflection of you. Each participant will take one essay through several drafts, and come away with the skills needed to tackle the rest. Don’t worry: you got this! 2 Mon/Thurs Bethesda

7–9:30 p.m. All Levels

7/9–7/19 $195

Caroline Bock Write your short stories in this three session writing workshop! Focus on character, setting, plot, and dialogue to write a story ready to submit to local and national teen writing competitions. We will begin with short writing exercises and feedback designed to help you draft a fulllength short story by the end of the workshop. Publication/ contests will be discussed and insights shared from your workshop leader who has judged several writing contests for teens. 10:30 a.m.–12:30 p.m. All Levels

7/9-7/12 $195

Mary Quattlebaum and Joan Waites Learn to deeply revise and polish your picture book manuscript before submitting to an agent or publisher. Widely published author Mary Quattlebaum and acclaimed illustrator Joan Waits will lead discussions in pacing, page turns, storyboarding, and visually dramatic storytelling. During this hands-on workshop, writers will be editing their own manuscripts and enhancing their skills as picture book creators. Bring your questions and a double-spaced copy of a picturebook manuscript that you’ve carefully revised. Workshop may most benefit those who have taken “Writing Picture Books,” but all writers ready for revision are welcome! 1 Tuesday Bethesda

6:30–9:30 p.m. 6/5 Intermediate/Advanced $50

Creating Your Book for Children Having a children’s book published in today’s tough market may seem like an impossible dream. In reality, getting your book idea into shape and into print can hinge on just the right advice from a pro. Do you need an agent? Should you connect with an artist? What about self-publishing? In this exclusive one-session workshop, nationally-known author Peter Mandel will pass on insider tips writers need to know in order to create a marketable first book and get it into the hands of exactly the right gatekeepers in the publishing world. 1 Monday Hill Center

7–9:30 p.m. All Levels

6/25 $65

Fiction

How to Tell a Story in a Poem Jacqueline Jules How do you capture the essence of an experience on a single page? Learn techniques for capturing a story in a narrative poem. Examine poetry with strong narratives and identify successful elements. Discuss the difference between emotional truth and literal truth, as presented in a poem or any piece of creative writing. This two session workshop will cover the basics of the narrative form and provide an opportunity to write from writing prompts. 3 Wednesdays 1–3 p.m. Bethesda Beginner

Picture Books II: Revision

Peter Mandel

Short Story for Teens

1 Mon-Thurs Bethesda

Adults Write for Children

7/25–8/8 $115

 Intro to the Novel Tammy Greenwood Have you always wanted to write a novel but didn’t know where to start? This online workshop will focus on everything from generating ideas to developing characters to establishing point of view. Participants will learn some of the many elements of fiction (dialogue, scene, etc...), but the emphasis will be on discovering the writing process that works best for you! 8 Weeks N/A Online Beginner



Writing the College Essay

4/27–6/15 $360

Plotting Your Novel

Tammy Greenwood

Alyce Miller Together we’ll dispel all the silly myths about the college essay to help you find your voice and craft a solid college essay that admissions committees will be delighted to read. Please bring two typed copies of a revised draft of your college essay to the class.

Whether you are an organized planner or a writer who flies by the seats of their pants, a novel still needs structure. In this four week online workshop, participants will study the architecture of a novel and devise plans for plotting their novels. Required texts: Hooked by Les Edgerton and Plot and Structure by James Scott Bell.

1 Wednesday Bethesda

4 Weeks Online

10 a.m.–2 p.m. All Levels

for the most up-to-date news and information, visit www.writer.org

8/1 $80

N/A All Levels

5/4–5/25 $195

workshops

Teen Writing

WORKSHOPS Beginning Fantasy Fiction

novel and will be equipped with the skills to perfect it. The session will include time for writing.

Brenda W. Clough Vampires, zombies, and halflings with swords! Come pick a world and write in it! The first session of this workshop will be devoted to the basics of fiction and story construction. In the second session, participants will do a start-up exercise to help get them started on a possibly longer work. 2 Tuesdays 7:30–9:30 p.m. Bethesda Beginner



5/8–5/15 $80

Introduction to the Short Story

Christopher Linforth

workshops

In this class participants will be reading classic and contemporary short stories, and developing their own theories and opinions on the main elements of the genre. That is: what makes a short story, and more importantly, what makes a good short story. Through a set of writing exercises, participants will explore the craft of short fiction and establish a sound grasp of the essential building blocks: character, point of view, dialogue, setting, plot, structure, and theme. By the course’s end participants will have a written, workshopped, and revised a complete story and have plenty of material for many others. 8 Weeks N/A Online Beginner

5/14–7/2 $360

Caroline Bock Write four stories (or more) in four weeks! Start with flash and move to full-length short fiction. Participants will explore the elements of character, setting, plot, and voice, while in-person and at home writing and reading assignments will focus on craft. Come prepared to start a summer of writing! 10:30 a.m.–1 p.m. All Levels

5/15–6/5 $195

How to Write a Novel John DeDakis This one day workshop gives writers a practical 16-point plan that takes you from the mere germ of an idea all the way through the creative process, with an eye on getting a finished book into the hands of potential fans. Participants will discuss how to transform an idea into a book-length project, populated with interesting characters, a twistyturny plot, snappy dialogue, and an interesting setting. This class will also focus on strategies for finding an agent and marketing the finished product. 1 Wednesday Bethesda

10 a.m.–12 p.m. 5/16 Beginner/Intermediate $50

From Novice to Novelist John DeDakis This day-long workshop will deconstruct and demystify the novel-writing process for struggling and/or aspiring writers. Go all the way from getting the start of an idea to getting your book into the hands of expectant fans. Along the way you’ll learn how to stay organized, write in the voice of the opposite sex, the art of rewriting, and how to overcome your writing and marketing fears. By the end of our time together you’ll be prepared to begin work on a

5/19 $100

Elements of Fiction Jennifer Buxton This four session workshop will feature intensives in fiction’s building blocks: plot, dialogue, character, and point of view. Consisting of in-class exercises and assignments to take home, this workshop is designed for people just getting started, as well as experienced writers aiming to strengthen their understanding of the basics. 4 Saturdays Bethesda

10 a.m.–12:30 p.m. 6/2–6/23 Beginner/Intermediate $215

Fiction II: Work-in-Progress Con Lehane In this workshop writers will concentrate on developing and enriching their works-in-progress. Whether your bent is the short story or the novel, comedy or tragedy, mystery or fantasy, certain elements of story writing are universal. This workshop will examine such craft elements as character, plot, point of view, description, dialogue, setting, pacing, and voice, as well as the importance of substance and structure to a story. Note: No meeting on July 4. 8 Wednesdays Bethesda

4 Stories/4 Weeks

4 Tuesdays Bethesda

1 Saturday 10 a.m.–4 p.m. Bethesda Beginner

7–9:30 p.m. 5/23–7/18 Intermediate/Advanced $360



10 a.m.–12 p.m. Beginner/Intermediate

5/30 $65

Introduction to Flash Fiction

Tara Campbell How do you fit the world into 1,000 words or less? In this four-week online course, you’ll explore the genre of flash fiction and create your own compact masterpiece. Topics include the elements of fiction, fundamentals of storytelling within the constraints of flash, best practices in workshopping and revision, and opportunities for further reading and potential publication. You will write multiple flashes from prompts or your own imagination, and choose one or two drafts to polish into a small, bright gem of your own. 4 Weeks Online

N/A 6/1–6/22 Beginner/Intermediate $195

From Novice to Novelist John DeDakis This day-long workshop will deconstruct and demystify the novel-writing process for struggling and/or aspiring

The Writer’s Center writers. Go all the way from getting the start of an idea to getting your book into the hands of expectant fans. Along the way you’ll learn how to stay organized, write in the voice of the opposite sex, the art of rewriting, and how to overcome your writing and marketing fears. By the end of our time together you’ll be prepared to begin work on a novel and will be equipped with the skills to perfect it. The session will include time for writing. 1 Saturday Hill Center

10 a.m.–4 p.m. Beginner

6/2 $115

Revising Your Story Alyce Miller Participants will bring a revised draft of a story to this workshop that they would like to improve. The class will focus on what it means to “see again” (revision) a piece of writing, through fresh eyes and with a new clarity, giving lots of attention to detail. 1 Monday Bethesda

7–10 p.m. 6/4 Intermediate/Advanced $50

The Extreme Novelist II: Revision Kathryn Johnson This follow-up course to the popular Extreme Novelist is intended for writers serious about their publication goals. Participants will focus on revision and learn ways to avoid the most common issues that result in rejection. Plotting pitfalls, slow beginnings, and weak endings are just a few of the topics to be tackled as each participant works independently on revising and polishing their book-length manuscript. The goal is to give authors of novels, short story collections, and memoirs the tools they need to selfedit and fine-tune their manuscripts, thereby increasing their chance of commercial publication. (Note: There will be no class on July 4.) 8 Wednesdays 7–9:30 p.m. Bethesda Advanced

6/6–8/1 $360

Writing the Horror Story Alex Smith Generate fear and tension in your work, while daring your reader to plunge forth into the darkness you create! Participants will read and discuss three selected stories in the first session, considering the elements of horror, attending to suspense, character, violence, and fear. In the following meetings, writers will workshop their newly written or in-progress scary stories, returning to and building on the understanding of the genre. With some luck and determination, participants will leave this workshop well on their way to a completed horror story. Note: No meeting July 4. 5 Wednesdays Bethesda

6–8 p.m. All Levels

6/6–7/18 $195

Write-In Julie Wakeman-Linn Where will your writing go if you let it go off the map? In this generative workshop, participants will write from a timed prompt and then share for positive constructive feedback. This one day workshop allows writers to shake off bad habits and let the images and characters flow without barriers. If you are feeling stuck, trapped in an overworked plot, this is a chance to open your heart. Find new ideas, and new approaches to your writing. Prompts

Workshop & Event Guide Summer 2018

WORKSHOPS

1 Wednesday Bethesda



7–9 p.m. All Levels

6/6 $50

Intro to Epistolary Fiction

Mathangi Subramanian If you could write to anyone, anywhere, anytime, what story would you tell, and how would you tell it? Using sample texts ranging from The Perks of Being a Wallflower to The Color Purple, participants of this online workshop will examine how authors use epistolary fiction - or stories through letters and other documents - to develop characters, setting, conflict, and plot. By the end of the workshop, participants will have the beginning of a piece, including an outline of plot, sketches of characters, and the first few documents of a novel or short story. 4 Weeks N/A Online Beginner

6/11–7/2 $195

Self-Editing Strategies Aaron Hamburger You want to take your writing to the next level, but no matter how hard you work, you feel as if you’re spinning your wheels and you can’t quite figure out why. Or maybe someone’s identified the problem for you, but no matter what you do, you just can’t seem to solve it. This is the class for you! In this two-session class we’ll go over selfediting strategies and talk about what editors and readers look for in prose. Then you’ll get a chance to put a short

section of your own writing under the microscope. Find out what you’ve been missing!

for the beginning long-form fiction writer, or for the more experienced author in need of a quick strategy brush-up.

2 Tuesdays Bethesda

1 Saturday Bethesda

7–9 p.m. All Levels

6/12–6/19 $80

10 a.m.–12:30 p.m. All Levels

6/16 $50

Polish for Publication

Novel Openings

Julie Wakeman-Linn

Nicole Miller

Before your story heads out to an editor, add the finishing touches to the opening sentence, the closing paragraph, and to the syntax and imagery for publication. This workshop will feature a discussion on the opening line strategies, how to make your last paragraph more powerful, and the polishing of every sentence so the reader is focused. A list of weasel words will be shared, syntax evaluation techniques will be provided, and the value of ‘playbacks’ or hooks that unify a story. Participants are invited to bring in their stories for revision practice and feedback.

Beginnings are the last part of a novel which is set before a manuscript can be called truly finished, and yet for readers and literary agents, it is the first thing they see, and so makes the greatest impression. Famously, some authors rework their beginnings to death, not moving forward until those early paragraphs are exactly right. This workshop will place focus on the opening chapter and the opening page of your novel. You will have a chance to present your current beginning, rethink it (or replace it) after critique, consider linear, elliptical, contextual, dramatic and atmospheric approaches. Participants will also look at grabbing first lines, and learn techniques to micro-edit your first page to make every word count.

1 Wednesday Bethesda

7–9 p.m. All Levels

6/13 $50

Your First (or Next) Novel Kathryn Johnson Writing a novel involves a huge commitment of time and energy. But it doesn’t need to be a daunting experience. Learn how to effectively plan your story, and master simple hacks for building fiction that will engage readers from page 1. Borrow confidence-building techniques from professional writers and learn how to work to completion— then consider your options for publication. By the end of the class, you’ll have a flexible writing plan that will keep your writing flowing to “The End.” This is an ideal course

5 Saturdays Hill Center

10:30 a.m.–2 p.m. Intermediate/Advanced

6/16–7/14 $100

Point of View Nicole Miller Picking a point of view can be a dizzying proposition. While it is true that a tale can be told successfully by any number of points of view, there is almost always a best point of view, and this workshop will help you to find that vantage for yourself and develop it to the utmost in any given story you are striving to tell. Participants will discuss the philosophical

A Place for Writers and Artists in France Medieval Mountain Village Retreat La Muse is a retreat in the Cathar region of south-west France offering artists and writers a place to nurture their creative passion. Located in the ancient village of Labastide-Esparbairenque surrounded by the Black Mountains, it is only 45 minutes by car from the medieval walled city of Carcassonne, a UNESCO World Heritage Center. In addition to the precious commodities of space and time, La Muse offers spectacular views and walks, ancient fortresses, a nearby mountain spring, and local produce. The village at the bottom of the hill has two cafes, both of them worth the walk. La Muse facilities encompass a large manor house, which dates from the 12th century, and two neighboring cottages. Ten bedrooms are available. All guests have use of the library, studio, kitchens, dining rooms, WiFi, terrace and gardens. For those who prefer private work spaces: the bedrooms have desks, and two rooms have a private work space. La Muse hosts groups as well as individuals. For more information, see us on the web at: www.lamuseretreat.com

for the most up-to-date news and information, visit www.writer.org

workshops

will be drawn from classic sorts including What if, Three AM Epiphanies, and other sources. Participants will have generated three new story ideas by the end of the session.

WORKSHOPS underpinnings for omniscient, first-person, and secondperson narration, and do exercises which project intimacy, subjectivity, scrutiny, exhortation, and distance. Please bring a piece of writing in which you want to experiment with. 1 Saturday Hill Center



11 a.m.–4 p.m. All Levels

8/4 $115

Crafting Short Stories

Christopher Linforth In this class, participants will be examining the qualities of good writing and good storytelling. After a recap on the basic elements of short fiction, writers will take a fresh look at contemporary and classic stories alike. Each week participants will write short pieces (longer, too) and offer feedback to fellow writers. By the course’s end, several stories will have been workshopped and then revised with an eye toward publication. 8 Weeks N/ A Online Intermediate

workshops



6/18–8/6 $360

Story Craft!

Hildie Block In this six-week online writing workshop, participants will share and workshop their writing while learning secrets to the craft of short stories -- plot, character, dialogue, setting, and more! Let this be the summer you get writing! Required text: Best American Short Stories 2018 (ed Wolitzer). 6 Weeks Online

N/A All Levels

6/18–7/23 $270

Writing Characters You Love to Hate Alyce Miller The characters we love most in literature are often the most flawed. Some of them we empathize deeply with, some of them we outright hate. In this workshop participants will work on writing fully-developed characters who aren’t always easy to like. 1 Saturday Bethesda

10 a.m.–2 p.m. 6/23 Intermediate/Advanced $80

Julie Wakeman-Linn Shake up your neurons. Try a new technique to generate stories. What would you write about a single red glove, Arizona, and a Rwandan refugee? Or some combination of character, object and place, leading to a story. Come have fun and be creative in this generative one night workshop.



7–9 p.m. All Levels

6/27 $50

Tara Campbell If you’ve dabbled in flash fiction, but need a spark of inspiration for new stories, this four-week online course is for you! After a brief review of the techniques of flash, participants will write to prompts, generate new ideas, and workshop stories. Participants will also discuss revision strategies and submission opportunities to utilize after the course. 4 Weeks Online

N/A 7/9–7/30 Intermediate/Advanced $195

Conflict & Tension Kathryn Johnson It’s often said that without conflict there is no story. It also holds true that strengthening the conflict in any type of fiction will bump up the tension and turn a limp, ordinary tale into an extraordinary adventure that will keep readers turning pages. Whether you choose to write literary fiction, mysteries, family sagas, thrillers, historical fiction, sci-fi or fantasy—you can learn techniques for drawing readers into your tales and make your work stand out from the crowd. Join us for a Saturday morning coffee chat and leave with a handout chock-full of ideas to apply to your stories. 1 Saturday Bethesda

10 a.m.–12:30 p.m. All Levels

7/14 $50

Brenda W. Clough Vampires, zombies, and halflings with swords! Participants will build a world and write in it. The first session of this workshop will be devoted to the basics of fiction and story construction. In the second session, participants will do a start-up exercise to help get them started on a possibly longer work. 2 Thursdays 7:30–9:30 p.m. Bethesda Beginner

7/19–7/26 $80

Troubleshoot Your Submissions Have you submitted whole or partial manuscripts to agents, publishers, or anthology editors—only to have your work swiftly rejected or just ignored? How can you make your fiction more appealing to the gate keepers of the publishing industry when no one will tell you what a story lacks or how to make it better? Join us to learn the 10 most frequent causes of rejection for fiction. You’ll leave with a checklist of the traps to avoid and tips to apply to your work-in-progress—and make it stand out from the competition.

Tammy Greenwood Have you always wanted to write a novel but didn’t know where to start? This online workshop will focus on everything from generating ideas to developing characters to establishing point of view. Participants will learn some of the many elements of fiction (dialogue, scene, etc...), but the emphasis will be on discovering the writing process that works best for you! 6/29–8/17 $360

10 a.m.–12:30 p.m. All Levels

7/28 $50

Mixed Genre  Getting Started: Creative Mathangi Subramanian

essays about the writing process from published authors. Participants will leave the workshop with a familiarity with multiple genres; initial drafts of fiction, poetry, and creative nonfiction pieces; and a set of exercises they can do to maintain their creative momentum. 4 Weeks N/A Online Beginner

5/14–6/4 $195

Writing the Thing You’re Afraid to Write Laura Di Franco Fear is just excitement without the breath! What if there was something you haven’t learned yet that could change everything? The mission in this workshop is to help you use your fear as a compass, instead of letting it paralyze you - to help you write and share the pieces of your soul aching to be set free. Participants will explore the topics of the inner critic and fear in a way that leaves you inspired and excited to write the thing you’re afraid to write! After completing this workshop participants will enjoy a level of awareness that’ll help make their writing come alive and help them write brave! 1 Tuesday Bethesda

6:30–9 p.m. All Levels

5/15 $50

Fiction and Nonfiction Narratives Susan Land

Beginning Fantasy Fiction

1 Saturday Bethesda

Intro to the Novel

8 Weeks N/A Online Beginner

Flash Fiction II

Kathryn Johnson

Create a Story in an Hour!

1 Wednesday Bethesda



The Writer’s Center

Writing

Do you have a memoir, novel, or chapbook trapped inside you? Set it free with this course introducing the basic elements of creative writing through a series of fun and interactive activities. Every week, participants will read examples of fiction, nonfiction, and poetry, as well as

Come prepared to write and read your fresh narratives aloud! Participants will respond to prompts designed to generate confrontations among characters. This workshop will focus on shaping the narrative in fiction or nonfiction. Writers will get to share revisions in critique. 6 Fridays 10 a.m.–12:30 p.m. Bethesda Beginner

5/18–6/22 $270

Writing Reality Based Fiction Kathryn Johnson Stories based on real events or the lives of real people ring true. They are also among the most popular in today’s literature. Whether the tale travels back through history, dramatizes incidents straight out of today’s headlines, or uses technology to speculate about the future—readers consistently seek out reality-based fiction. Learn how to effectively use actual places, events, people, and facts to frame and color your work-in-progress, no matter the genre. 1 Saturday Bethesda

10 a.m.–12:30 p.m. All Levels

5/26 $50

Precision in Language Virginia Hartman Learn the skills to identify precisely the right word to express your meaning, feeling, or subtext. Participants will look at examples in fiction, poetry, and nonfiction, and discuss what makes an expression fresh rather than expected, where and how to find the mot juste (the exact, appropriate word), and why precision can succeed in getting your work noticed. Mine your bookshelves and come to class with one or two brief passages in which the author uses language with an evocative precision. 1 Saturday Bethesda

Workshop & Event Guide Summer 2018

1–4 p.m. All Levels

5/26 $50

WORKSHOPS Classical Mythology

Carolyn Clark In just four weeks each participant in this online workshop will become immersed in relevant details from the Olympic pantheon. Writers will share guided-research stories (drawn from primary sources offered through reliable online libraries). During the third session participants will share their own writing products that reweave chosen myth. This leaves the fourth week to receive expert editorial advice so all finish with a victory lap. 4 Weeks Online

N/A All Levels

6/4–6/25 $195

Building Character Nicole Miller In this one-day workshop participants will be delving into the process of creation, dabbing on the flecks which bring a character to life. With the help of the masters of character-making, writers will plumb the past and present of the protagonist, explore their thoughts, habits and actions, and put personality to the test, in a series of revealing scenes. 1 Saturday Hill Center

11 a.m.–4 p.m. All Levels

6/2 $115

In the Air: The Atmosphere Workshop Nicole Miller Atmosphere can be a notoriously elusive thing. Without it, our stories—whether personal or imaginary—fall flat at the outset. In this workshop, participants will look at examples from contemporary and classic literature, both fiction and nonfiction, to analyze the feeling we derive from the best writing. Exercises with imagery, description, dreams, memory recall, and dialogue will help you to evoke atmosphere in your writing, and to subtly tease out your underlying themes and directions. By the end of the seminar, you will leave with several approaches to add dimension to dry prose, and will have worked with the details of climate, physiology, psychology, and emotion to generate new passages and alluring beginnings. 1 Saturday Hill Center

11 a.m.–4 p.m. All Levels

6/9 $115

Writers Residencies & Retreats 101 Christine Koubek Have you dreamed of a getaway devoted to writing? In this Saturday session, you’ll learn about writers residencies and retreats. We’ll discuss the pros and cons of those that are devoted to independent writing time vs. others with a seminar/workshop element—plus, artist mix, costs and scholarships, how to get in, and what to expect once you’re there. You’ll also learn which residencies are ‘reach’ ones (to borrow that college application term), and which ones to try if you don’t have a deep publication history. By the end of the workshop, you’ll have your list of favorites to apply. Participants are invited to bring a laptop if you want to look things up as we go along, but it’s not necessary. 1 Saturday Bethesda

10:30 a.m.–1 p.m. 6/2 Intermediate/Advanced $50

Writing Summary and Scene Alyce Miller When should material in fiction and nonfiction deserve a full scene, and when is it better served by summary?

Participants will explore the pacing and rhythm of managing time, as well as what it means to develop character through dialog, action, and response. Crucial to prose writing, scene, and summary are essential tools to producing strong writing. 1 Thursday Bethesda

12–4 p.m. 6/28 Intermediate/Advanced $80

How to Write a Lot You may think you don’t have the time, energy, or inspiration to write because of your hectic lifestyle. Wrong! Join us for coffee and pastries, and learn what professional writers know about organizing their time, establishing a productive writing routine, and getting their stories written. The class will highlight methods that many professional writers use to complete their books in months instead of years, their short stories in mere weeks. Become the dedicated author you’ve always dreamed of being. 10 a.m.–12:30 p.m. All Levels

6/30 $50

Alyce Miller Regardless of the genre in which you write, point of view is the single most important choice a writer makes. From POV flows all the other choices: language, event, image, and more. Participants will begin with a challenging and fun POV exercise that will generate lots of discussion. This is a workshop based on exercises and readings and discussions. The goal is to leave with a fresh & energized perspective on your writing.

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10 a.m.–1 p.m. All Levels

7/10–7/17 $115

Find & Replace: Edit Like a Pro

Kris Spisak So often the best of stories are held back not by the author’s creativity but by common typos, cliché phrasings, and vague descriptions that don’t hook the reader as much as they could. How can an opening go beyond what readers have seen before? How can a writer think past the first character movements that pop into their heads? How can a simple interaction come alive? In this online workshop, participants will access videos and interact on discussion boards to fine-tune their writing and brainstorm together how to improve weak writing examples. In addition, participants will be given multiple “cheat sheets” to bring their writing to the next level using author and editor Kris Spisak’s favorite editing technique. 2 Weeks Online

N/A 7/2–7/9 Beginner/Intermediate $100

Writing as a Path to Healing Laura Di Franco Participants of this course will learn powerful tools that allow them to use writing as a path to healing and happiness. Writers will explore the topics of body awareness, the inner critic, using fear as a compass, and mindset magic, in combination with body awareness, breath work, and therapeutic writing exercises that get participants connected with their soul; the place where you want your writing

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6:30–9 p.m. All Levels

7/10 $50

Getting Started: Creative Writing Want to try creative writing but don’t know where to start? This workshop will help you begin by exploring imaginative forms of writing in a supportive environment. Fun prompts will help circumvent the analytic brain and give creativity a chance to thrive. You’ll find new ways to free up memories and use them as inspiration for memoir, fiction, poems, creative nonfiction, or journal-writing. Hallmarks of the workshop include in-class assignments, opportunity to read your writing—or not, as you choose— and receive feedback to identify your writing strengths. You’ll also receive tips on how to continue writing after the workshop. 2 Saturdays Hill Center

Point of View

2 Tuesdays Bethesda

1 Tuesday Bethesda

Patricia Gray

Kathryn Johnson

1 Saturday Bethesda

to come from. Participants will leave enjoying an enhanced level of awareness that’ll inspire their creative endeavors, make their writing come alive and create a path toward healing and happiness they didn’t know was possible.

1–4 p.m. Beginner

7/21–7/28 $145

Before You Write Solveig Eggerz In a warm and supportive atmosphere, develop your story idea. Explore your character and his/her trouble before you write your story. What is my story about? This workshop provides the tools for answering this question, including storytelling, mapping, imagery, and other pre-writing methods. You will learn to hear and envision your story— and ultimately recognize its shifting “aboutness.” You will have the opportunity to receive feedback on your emerging story as well as guidance on how to enhance your story with sensual details, provocative dialogue, and vibrant characters. After four sessions, you will have at least one strong draft, ready for final revision. 4 Saturdays Hill Center

10 a.m.–12:30 p.m. All Levels

8/4–8/25 $215

Nonfiction The Zen of Writing Susan Tiberghien To enter into the mystery of Zen, we need to let go of distractions and open our eyes. What we see clearly, we will write clearly. Participants will focus first on journal writing, looking for seeds for life stories, then on how to write their stories, focusing on memoir. Excerpts from C.G. Jung, Thich Nhat Hanh, Annie Dillard, and Suki Kim will be read and discussed. 1 Friday Bethesda

10:30 a.m.–12:30 p.m. All Levels

5/4 $50

Blending Fictional Techniques with Memoir Alyce Miller While memoir writing focuses on real events and people, crafting memoir and life writing involves the use of fictional techniques: dialog, scene, summary, character

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WORKSHOPS development, setting, etc. In this workshop participants will delve deeply into the importance of crafting personal writing so that it comes alive. 1 Saturday Bethesda

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10 a.m.–2 p.m. All Levels

5/12 $80

Writing Creative Nonfiction

Christopher Linforth Over the course of eight weeks, participants will be reading and writing in several sub-genres of creative nonfiction including memoir, essay, literary journalism, and the epistolary form. This online class focuses on generating new material, offering feedback to peers, revising pieces, and researching markets for the placement of work. 8 Weeks Online

N/A All Levels

5/14–7/2 $360

Writing from Life Ellen Herbert

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This workshop is dedicated to culling the life stories you need to tell from the complicated tangle of memory. Participants will explore “true writing,” employing literary techniques such as dialogue, setting, time, and place. This workshop will have you look at crucial turning points in your life, along with places you’ve visited or lived, your first impressions of these, and how your impressions may have changed. Note: No meeting on July 4. 8 Wednesdays Bethesda

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10:30 a.m.–1 p.m. All Levels

5/16–7/11 $360

Writing Trauma Narratives

Shanon Lee Whether you are revisiting a traumatic experience to organize your memories, work through emotions or empower others - writing about painful moments can be cathartic. In this six-week workshop, participants will explore the creative nonfiction of trauma survivors. Each week, they will be given writing prompts, a writing exercise, and a reading assignment designed to help them cultivate their voice and explore emotional honesty. Participants will learn popular creative writing and editing techniques - and how to cope with emotional triggers. By the end of the workshop, participants will have a powerful essay that has the potential to inform and inspire. 6 Weeks Online

N/A All Levels

5/21–6/25 $270

Beginners’ Travel Writing Bijan C. Bayne The purpose of this course is to instruct aspiring magazine and newspaper freelancers in how to construct a destination or hotel article, pitch it, write effective query letters, and find appropriate outlets. Each week, participants will work on a feature of their choosing, with some classroom reading. They will be encouraged to bring in exemplary features with which they are impressed, also for reading or classroom analysis. At course completion, participants will have completed a query letter, and will own a draft of their tourism feature. 6 Thursdays Bethesda

6:30–8 p.m. 5/24–6/28 Beginner/Intermediate $195

The Art of the Personal Essay Alyce Miller Everyone has a story to tell, but how do you transform events in your life into art? The personal essay shares a lot with memoir, but is its own delightful and ancient form. Through shared exercises and prompts, workshop participants will complete and constructively critique four short 500-word essays, and one longer essay. Please be sure to complete the readings before each class. 3 Saturdays Bethesda

10 a.m.–2 p.m. All Levels

6/2–6/16 $195

Writing Memoir: Getting Started Marilyn W. Smith This week-long workshop invites participants to draft one short memoir utilizing the elements of memoir presented in class. Class time will be spent on discussion, exercises, and sharing, following the arc of a story as a guide. Most writing will be completed at home and then shared during the last class. 1 Monday-Friday 10:30 a.m.–12:30 p.m. Bethesda All Levels

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6/25–6/29 $195

6 Wednesdays Bethesda

1–3:30 p.m. All Levels

6/27–8/8 $270

Poetry  Foundations Meg Eden

of Poetry

Over the course of four weeks, participants will discuss four key elements of poems: image, sound, form, and realization. Writers will produce a variety of poems and learn tips for maintaining the practice of writing. Participants will have the opportunity to workshop and revise four poems and will receive personalized feedback on their work. 4 Weeks Online

N/A 5/14–6/4 Beginner/Intermediate $195

Kurt Olsson

Emily Rich Having a great story is just the first step to writing a compelling piece of memoir. In this class, participants will explore what takes a piece of personal writing “from draft to craft,” looking at elements such as character development, incorporating sensory detail, and writing in scenes. Writers will focus on the importance of taking a story that’s true and connecting it, as Cheryl Strayed says, “to the greater, grander truth.” In addition to workshopping each others’ writing, participants will read essays on craft and sample works of successful memoirists. When the course is over, participants will come away with an appreciation of what makes a piece of memoir stand out and appeal to an audience beyond themselves. 6/4–7/9 $270

Since humans first painted on cave walls, art has awed and inspired us—but perhaps no group more so than poets. Painting, music, theater, dance—all have served as the creative spark for memorable poems. In this intensive workshop, writers will not only read and critique one another’s work, but will explore arts outside of poetry for inspiration, not by responding directly to the works themselves, but rather by reading what artists like Cage, Warhol, Monk, Guston, Celmins, and others tell us about the mystery of making, and engaging in some lateral thinking that we can then appropriate, assimilate, and apply to deepen and enrich our own work. 7 Tuesdays Bethesda

7–9:30 p.m. 5/15–6/26 Intermediate/Advanced $315

Making It Whole: Poetry Chapbook Anne Becker

Narrative Nonfiction II Gina Hagler Narrative nonfiction is a genre in which the facts are used to tell the story. It’s also the sort of writing that is used to tell about a discovery or how an event unfolded. I view it as a more engaging form of nonfiction than a straight report. It’s useful for a variety of presentation and reporting purposes. Note: No meeting July 3. 6 Tuesdays 7-9:30 p.m. Bethesda Intermediate

for the sharing of work and a free-write are included each session. Required text: Chance Particulars: A Writer’s Field Notebook for Travelers, Bloggers, Essayists, Memoirists, Novelists, Journalists, Adventurers, Naturalists, Sketchers, and Other Note-Takers and Recorders of Life by Sara Taber. Note: No meeting on July 4.

Steal Like an Artist!

Finding Your Memoir Voice

6 Weeks N/A Online Intermediate

The Writer’s Center

6/12–7/24 $270

The Writer’s Toolbox Sara Mansfield Taber This is a workshop for those who wish to sharpen the tools in their writer’s toolbox to create lively literary nonfiction: blogs, essays, memoirs, journals, travel stories, and reportage. Participants in this class will examine published works and practice aspects of the writer’s craft such as: concrete detail; use of the senses; figurative language; characterization; dialogue; and scene, summary, and musing. Time

This seven-week intensive workshop is for writers who are ready to put together a chapbook (must have 30 pages of strong poetry). During the first six weeks, participants will read model chapbooks and consider various strategies of organization, prepare their chapbook manuscripts, have them critiqued by the group, revise their chapbooks, and have the final draft critiqued. The seventh meeting consists of an hour-long private session with the instructor. To be considered for this course, please submit five poems to laura.spencer@writer.org by May 5. 7 Saturdays 11 a.m.–2 p.m. Bethesda Advanced

5/19–6/30 $400

Imagery: How the Poem Thinks Melanie Figg Images are one important way that a poem thinks and makes an argument. By improving our description powers we can build stronger poems that reach beyond words to a powerful collective of visual language. In class, participants will look at a few examples, and explore how

Workshop & Event Guide Summer 2018

WORKSHOPS

1 Saturday Bethesda

1–4 p.m. All Levels

5/26 $50

Patricia Gray Designed to help participants write quickly and well, this workshop will serve as a kick-start to summer fun. Day 1 begins with a series of prompts to inspire six or more lively beginning drafts. Each poet will then choose two drafts to develop and discuss on Day 2, creating a feast of compelling images to incorporate in these poems. On Day 3, participants will rearrange a third poem from its draft form in order to liberate its meaning and sound. Day 4 offers the opportunity to polish, present, and celebrate the poems and their authors. Participants are invited to bring copies of one of their poems as a way to introduce themselves to the group. 6/4–6/7 $135

The Engine of Syntax Melanie Figg Good syntax—how words are stacked to build sentences and meaning—is one of the key strategies to create an effective poem. This class will teach participants how to arrange words to add depth, song, and multiple meanings to their work. Writers will also look at some common mistakes that slow down poems. By opening up a poem’s syntax, you’ll learn how to open up meaning, energy, and impact. Bring a poem to work on it class (typed, 1-2 pages) for which you’d like to improve the language. 1 Saturday Bethesda

1–4 p.m. All Levels

6/23 $50

Sonnet Crash Course Claudia Gary Improve your sonnet skills or to write your very first one! With the help of a widely published author of sonnets and villanelles, you will read several classic and contemporary examples to see why they work, and then -- with or without shortcuts -- write one or more of your own. Next, you’ll see how a new poem can be improved by revision. Participants will leave with at least one new or improved sonnet, as well as insights about how writing poetry in form can unlock deeper meaning and enhance everything you write. 1 Saturday Bethesda

2 Tuesdays 7–9 p.m. Bethesda Beginner

7/10–7/17 $80

The Poem Comes Alive Sandra Beasley

3 Poems in 4 Days

1 Mon-Thurs 1–3 p.m. Bethesda Intermediate

any piece of creative writing. This two session workshop will cover the basics of the narrative form and provide an opportunity to write from writing prompts.

11 a.m.–1:30 p.m. 6/23 Beginner/Intermediate $50

How to Tell a Story in a Poem Jacqueline Jules How do you capture the essence of an experience on a single page? Can a childhood memory be used as a metaphor? Learn techniques for capturing a story in a narrative poem. Examine poetry with strong narratives and identify successful elements. Discuss the difference between emotional truth and literal truth, as presented in a poem or

Write poems that come alive: bright, specific, and taking risks on the page. Each workshop will lead off with a guided close reading of one or two contemporary poems, talking about each poet’s strategies; from there we’ll segue to discussing your work. Be prepared to bring in drafts of 1-2 pages for three of the six sessions, each will receive written feedback from the instructor. Bring fourteen copies of a draft to first session. 6 Wednesdays Hill Center

7–9 p.m. Intermediate/Advanced

7/11–8/15 $270

Villanelle Crash Course Claudia Gary Improve your villanelle skills or to write your very first one! With the help of a widely published author of villanelles, sonnets, and other poems, you’ll read several classic and contemporary examples to see why they work, and then -- with or without shortcuts -- write one or more of your own. Next, you’ll see how your new poem can be improved by revision. You’ll leave with at least one new or improved villanelle, as well as insights about how writing poetry in form can unlock deeper meaning and enhance everything you write. 1 Saturday Bethesda

11 a.m.–1:30 p.m. 7/14 Beginner/Intermediate $50

Making Effective Line Breaks Baffled by line breaks? Unsure what makes a good line have integrity and muscle? In this class, we’ll explore how line length affects pace and content and how good line breaks add to your poem’s energy and meaning. Through in-class exercises and discussion, you’ll not only start to notice your own habits with the line, but you’ll discover new options of where to break the line—and why. Please bring a copy of a free verse poem (at least 14 lines) you wrote that you feel could benefit from stronger line breaks. 1–4 p.m. All Levels

7/28 $50

Sonnets and Villanelles II Claudia Gary For those who have taken the Sonnet Crash Course and/ or Villanelle Crash Course, or who have worked on sonnets and villanelles before -- here’s an opportunity to build on your knowledge and skills! With the help of an internationally published and anthologized author of sonnets and villanelles, you’ll further explore how rhyme, meter, and “received forms” can deepen your writing. We’ll also consider how revising your poems can strengthen them. 1 Saturday 11 a.m.–1:30 p.m. Bethesda Advanced

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Claudia Gary Improve your ear for meter, and fine-tune your understanding of how meter works in poetry! Have you ever wondered how scanning the lines of your first draft can make for a better poem? Do you know why listening for the natural rhythms of speech can strengthen your writing? With the help of a widely published author of sonnets, villanelles, and other metrical poems, this one-day workshop will include reading and scanning of well-known poems, writing exercises, and, if you like, close examination of one or two poems you’ve drafted prior to the class. You’ll leave with new insights about improving the auditory qualities of all your poems and prose. 1 Saturday Bethesda

7/28 $50

11 a.m.–1:30 p.m. All Levels

8/11 $50

Professional Writing and Publishing How to Pitch Personal Essays to Magazines Christine Koubek Submitting personal essays is quite different from submitting other types of nonfiction, not only in the way you query, but also in the vast array of publications that publish them. In this workshop, you’ll learn about the unique aspects of submitting essays, from how to find writer’s guidelines for popular newspaper and magazine essay columns, to the pros and cons of submitting essays to newspapers and magazines vs. literary journals. By the end of our session, you’ll have a list of resources for moving forward and a template to guide your submissions. 1 Thursday Bethesda

Melanie Figg

1 Saturday Bethesda

Meter Crash Course

7–9:30 p.m. 5/31 Beginner/Intermediate $50

Landing a Literary Agent Eva Langston To get a book published by a major publishing house you first need an agent. In this class you will learn what an agent does and where to find the right one for you. After studying sample query letters, you’ll practice writing one of your own to be critiqued by your classmates. This workshop will also offer information on Twitter pitches, agent contests, conference pitch sessions, and other ways to land a literary agent. By the end of the workshop, you will be ready to send queries to the agents of your choice. Note: Although you do not need to bring it to class, you should have a completed manuscript you are hoping to publish through traditional publishing. 2 Mondays Bethesda

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7–9:15 p.m. All Levels

6/18–6/25 $100

Pitching In The Age Of Digital Media

Shanon Lee Do you struggle to find a home for your writing in today’s competitive market? Are you transitioning from print to digital media? In three weeks, participants will learn the elements of a perfect pitch. This class will cover generating story ideas, creating headlines, identifying target markets, and finding calls for submission. Participants will explore

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expansive images can provide us with a toolbox of words, relationships, and options to focus and strengthen our poems. Bring a poem to be worked on in class (typed, not more than one page) that has imagery you want to improve and expand.

WORKSHOP LEADERS how pitching digital publications differs from print, compare pitches that sold to those that were rejected, learn pitching etiquette, gain online research tips, and rehab pitches-in-progress. Participants will leave with the ability to craft pitches that sell.

right process, and the right teacher, you can and will write your book. In this workshop participants will focus on all aspects of writing business books including outlining the manuscript, creating a writing routine, marketing options, proposal writing, publishing options, and more.

3 Weeks Online

4 Mondays Bethesda

N/A All Levels

6/25–7/9 $135

6–8 p.m. All Levels

8/6–8/27 $135

Publishing in Literary Magazines

The Writer’s Center write around generic “he.” (Plus a Speak Like the News skill: avoid “uptalk?”) Emulate the vivid news examples you’ll see in this workshop, and you’ll strengthen your writing voice with lively, engaging news style. At 7 sharp, we’ll critique the WallStreetJournal.com homepage, seeing how to communicate your main point in just a few words. Then we’ll talk our way through the workshop booklet, emphasizing reasons, not just rules, for your writing choices. To cover as much ground as possible, we’ll have just a few writing exercises and most of them will take less than a minute each.

You Wrote Your Book - Talk About It!

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Rob Jolles

Meg Eden

Maybe you have toyed with the dream of increasing your book sales and generating additional revenue by building a speaking business, or perhaps you have just thought about addressing occasional requests to speak that have come your way. But how do you find speaking opportunities, and make every moment count to drive even more deliveries your way? In this workshop we will focus on all aspects of professional speaking including engaging speaker’s bureaus, creating dynamic keynote presentations and workshops, marketing, proposal writing, program pricing, and basic delivery skills. If you think writing a book is exciting, wait until you feel the thrill of stepping in front of a room, and speaking on behalf of that book!

Want to submit your work to magazines but don’t know how? In this workshop, participants will learn about what literary magazines are, what editors are looking for in submissions, tips on how to get the most out of a lit mag, and the secrets to writing a great cover letter to get an editor’s attention. The skills you learn in this course can easily apply to other publication realms, including writing to agents and editors of small book presses.

1 Thursday Bethesda

4 Weeks Online

These are exciting times to be a screenwriter. With more shows and television channels than ever, the opportunities for inventive ways of storytelling increase daily. This hands-on workshop will guide beginning and intermediate screenwriters through the process of crafting a professional-grade screenplay and/or TV pilot. Participants will examine proven methods for adapting fiction and narrative nonfiction to the big screen, discuss strategies for promoting and marketing their screenplays or pilots, and work on advancing their careers as screenwriters.

2 Saturdays Bethesda

12–2 p.m. All Levels

6/30–7/7 $80

Writing a Nonfiction Book Proposal John Lingan

LEADERS

Whether you have a great idea, a few sample pages, or a finished manuscript, this workshop will help you bring it all together in a proposal that conveys your work and vision! In two two-hour sessions, participants will explore the proper structure and purpose of a nonfiction proposal, and the process for obtaining a literary agent. Classes will be discussion-oriented and include a brief homework assignment to practice some of the practices discussed. Participants will leave with a sense of how to market and promote their book ideas, and what to expect on the road to acceptance and publication. 2 Mondays Bethesda

7–9 p.m. All Levels

N/A All Levels

8/6–8/27 $195

Write Like the News Hank Wallace Lead with the future -- not background. That’s the most important of eight journalism skills that will transform your writing. The others: write your readers’ language, be positive (to be both clear and upbeat), lay out logically, be consistent, be precise, be brief, and choose strong verbs. Highlights: communicate in a crisis, correct errors the correct way, choose between raw numbers and a ratio, and

Writing For Film and TV Khris Baxter

1 Saturday Glen Echo

7/9–7/16 $80

Cara Seitchek Learn how to write proposals to request grants from funders. This workshop will cover how to research prospective funders, the elements of a good proposal, and how to approach funders. Proposal writing is a practical skill that applied to those who work or volunteer for nonprofit organizations and can be a good source of freelance writing income. Please come to class with a non-profit or project in mind to use as the focus of your research and proposal. This class meets in person for the first and third sessions, and online via email for the second class. 1:30–4 p.m. All Levels

7/14–7/28 $135

How to Write a Business Book Rob Jolles Anyone can write a book. The problem is, most people are stopped before they even start by the size of the project and fear of the unknown. With the right information, the

8/23 $50

Stage and Screen

How to Write Grant Proposals

3 Saturdays Bethesda

7–9 p.m. All Levels

Workshop & Event Guide Summer 2018

10 a.m.–4 p.m. All Levels

5/12 $115

WORKSHOP LEADERS

Bijan C. Bayne is an award-winning Washington-based freelance columnist and critic whose work has appeared in The Washington Post and The New York Times. He is also the author of the first biography of basketball hero Elgin Baylor, which was named a “Book That Inspires” by the Christian Science Monitor. Bijan C. Bayne is a contributor to JustLuxe and AFAR online. Sandra Beasley is the author of four books, including Count the Waves (poetry) and Don’t Kill the Birthday Girl: Tales from an Allergic Life (memoir). In 2018, she edited Vinegar and Char: Verse from the Southern Foodways Alliance. She lives in Washington, D.C., and teaches with the University of Tampa M.F.A. program. Anne Becker, author of The Transmutation Notebooks: Poems in the Voices of Charles and Emma Darwin, The Good Body (chapbook), and Human Animal, has presented programs at Johns Hopkins, University of Connecticut, Folger Library, and Smithsonian’s Natural History Museum. Poetin-residence at Pyramid Atlantic, she offers tutorials for those putting together poetry chapbooks and full-length collections. Caroline Bock is the author of the critically acclaimed young adult novels: Lie and Before My Eyes from St. Martin’s Press. In 2018, she was awarded an Artists & Scholars Project grant from Montgomery County for her novel-in-progress. In 2016, her short story, “Gargoyles and Stars” won the Writer’s Magazine short story contest, which was judged by Colum McCann. She holds an M.F.A. in fiction with honors from The City College of New York. More about her at: www.carolinebock.com. Hildie Block has been a writing instructor for 20 years at places like American University and GW, and The Writer’s Center. She’s published 50 short stories, and several essays and articles. Her book Not What I Expected debuted back in 2007. In January 2012, she took her award winning short story “People” and made it into a Kindle and Nook download. Jennifer Buxton has an M.F.A. in fiction from the University of Virginia. Her fiction has appeared in Epoch, Puerto del Sol, and Blue Penny Quarterly, among other places. She has taught writing in a

variety of venues, including the University of Virginia, and the UVa Young Writers Workshop. Tara Campbell is a fiction editor at Barrelhouse and an M.F.A. candidate at American University. Prior publication credits include SmokeLong Quarterly, Masters Review, b(OINK), Booth, Spelk, Jellyfish Review, and Strange Horizons. Her debut novel, TreeVolution, was published in 2016, and her collection, Circe’s Bicycle, will be released in Spring 2018. Carolyn Clark was born and raised in Ithaca, New York, but periodically lived abroad in Italy, Switzerland, and France. At Cornell she studied poetry with Archie Ammons, earned a B.A. in classical civilization, and later completed her M.A. and Ph.D. in classics. Her thesis on a Roman poet (Tibullus Illustrated: Lares, Genius and Sacred Landscapes). While raising her family in Montgomery County, Maryland, she spent 15 years teaching classicsrelated courses, Latin, French, and Mythology for Writers. She has published three books of poetry. Brenda W. Clough is a novelist, short story, and nonfiction writer. Her recent e-books are Revise the World and Speak to Our Desires. Her novels include How Like a God, The Doors of Death and Life, and Revise the World. She has been a finalist for both the Hugo and Nebula awards. She has been teaching science fiction & fantasy workshops at The Writer’s Center for over 10 years. More about her at: www.brendaclough.net. Novelist and writing coach John DeDakis is a former editor on CNN’s “The Situation Room with Wolf Blitzer.” DeDakis is the author of four mystery-suspense novels. His fourth novel, Bullet in the Chamber, won three book awards in 2017: Reviewers Choice, Foreward INDIES, and Feathered Quill. More about him at: www.johndedakis.com.

workshops at The Writer’s Center and in her classes for female inmates in Northern Virginia detention centers. Her award-winning novel is Seal Woman (Unbridled Books). A native of Iceland, she holds a Ph.D. in comparative literature. A 2017-2019 NEA Poetry Fellow, Melanie Figg has over 25 years experience teaching and mentoring writers of all levels. As a certified professional coach, Melanie has helped hundreds of writers to publish their work, tame their inner critics, and add more creativity, balance, and intentionality to their lives. More about her at: www.melaniefigg.net. Claudia Gary is author of Humor Me (David Robert Books, 2006) and several chapbooks including Bikini Buyer’s Remorse. Internationally published, she is a three-time finalist for the Howard Nemerov Sonnet Award and is included in the anthology Villanelles (Everyman’s Library, 2012). Read more at: pw.org/content/claudia_gary. Patricia Gray’s poems appeared recently in Salamander, The MacGuffin, and, paired with an author interview, in Tiger’s Eye. She formerly headed the Library of Congress Poetry and Literature Center, and her collection Rupture is from Red Hen Press. Patricia has written short stories, the draft of a novel, a chapbook, and a collection of poems. Her “Moon Smudge” poem was a Moving Words selection for Arlington, Virginia, buses. T. Greenwood is the author of twelve awardwinning novels including Where I Lost Her, Bodies of Water, and Two Rivers. Gina Hagler is a freelance writer and published author. She has written several pieces for Odyssey magazine, as well as Rosen Publishing. She is a member of the NASW, ASJA, and SCBWI. Her feature on the science of fire received a Letter of Merit from the SCBWI.

With over two decades of experience in healing, Laura Di Franco, MPT, is an intuitive writing strategist, holistic physical therapist, and thirddegree black belt in Tae Kwon Do. She helps writers get their authentic voice published in order to heal the world with their words. More about her at: www.BraveHealer.com.

Ellen Herbert’s novel, The Last Government Girl (Loyola Press), won the Maryland Writers’ Prize for Best Novel. Short stories in her collection, Falling Women and Other Stories, have won more than ten awards including a PEN Fiction. In 2017 her novel-in-progress placed first in a National League of American PEN Women competition.

Meg Eden’s work is published or forthcoming in magazines including Prairie Schooner, Poetry Northwest, Poet Lore, RHINO and CV2. She teaches creative writing at the University of Maryland. She has five poetry chapbooks, and her novel Post-High School Reality Quest is published with California Coldblood, an imprint of Rare Bird Books. Find more about her at: www.megedenbooks.com or on Twitter at @ConfusedNarwhal.

Aaron Hamburger was awarded the Rome Prize by the American Academy of Arts and Letters for his short story collection The View from Stalin’s Head (Random House). His novel Faith for Beginners was nominated for a Lambda Literary Award. His writing has appeared in The New York Times, The Washington Post, The Chicago Tribune, Poets & Writers, Tin House, Subtropics, Details, Michigan Quarterly Review, Boulevard, and The Village Voice.

A storyteller and novelist, Solveig Eggerz blends storytelling and writing methods in her

Virginia Hartman is part of the creative writing faculty at George Washington University, leads a

for the most up-to-date news and information, visit www.writer.org

LEADERS

Khris Baxter is a screenwriter, producer, and co-founder of Boundary Stone Films (“BSF”). BSF develops, finances, and produces a wide range of projects for Film and TV. Baxter has been a screenwriter for two decades and has taught screenwriting since 2004, most recently at The MFA in Creative Writing at Queens University and American University. He’s been a judge for the annual Virginia Screenwriting Competition since 2004.

WORKSHOP LEADERS poetry workshop at Miriam’s Kitchen, D.C., and has taught at American University and the Smithsonian. She has published work in The Hudson Review, Alaska Quarterly Review, and The Washingtonian, among others, and anthologized in Gravity Dancers: Even More Fiction by Washington Area Women. Kathryn Johnson’s 40+ popular novels (nominated for the Agatha Award, and winner of the Heart of Excellence and Bookseller’s Best Awards), include Victorian thrillers (writing as Mary Hart Perry); Affairs of State (a suspense series); and The Gentleman Poet, wherein William Shakespeare escapes to the New World aboard a ship bound for disaster. Her most recent book (nonfiction)—The Extreme Novelist—is based on her popular courses as taught at The Smithsonian and The Writer’s Center. Kathryn is the founder of a writer’s mentoring and editorial service: www.WriteByYou.com. She loves troubleshooting for authors and can be reached at: Kathryn@WriteByYou.com .

LEADERS

Rob Jolles is a 30-year professional speaker, and three-time bestselling author, with books translated in over a dozen languages. Rob coaches and mentors business authors from around the country. His designed approach and manuscript development process have been successful in the production of numerous conventionally published business books. He lives in Chevy Chase, Maryland. More about him at: to www.jolles.com. Jacqueline Jules is the author of three poetry chapbooks and forty books for young readers, including the Zapato Power series and the Sofia Martinez series. Her work has appeared in over 100 publications including Gargoyle, Beltway Poetry, The Potomac Review, Innisfree Poetry Journal, and Imitation Fruit. More about her at: www. jacquelinejules.com. Christine Koubek is an award winning travel writer, essayist, and author. Her work has appeared in The Washington Post, Brain Child, Coastal Living, Washingtonian, Budget Travel, CruiseCritic.com and many other digital and print publications. In addition, she writes the “Get Away” column for Bethesda and Arlington magazines. Christine received her M.F.A. in creative writing from Fairfield University, and residencies from the Virginia Center for the Creative Arts and Ragdale. More about her at: www. christinekoubek.com. Susan Land has published over 30 short stories, , Bellevue, Roamost recently in noke Review, and Nimrod. Her work has won many awards, including State Arts Council prizes and a Stegner Award. Eva Langston received her M.F.A. from the University of New Orleans. Her work has been pub-

lished widely and nominated for the Pushcart prize. She teaches at writing conferences, and her blog (www.evalangston.com) has been featured on Beyond Your Blog and Freshly Pressed. Currently she writes fiction for teens and tweens. Shanon Lee is a writer & survivor-activist with features on HuffPost Live, TV One, and the REELZ Channel. She is a contributor for Healthline and The Washington Post. Her work appears in Cosmopolitan, Playboy, Good Housekeeping, ELLE, Marie Claire, Woman’s Day and Redbook. Con Lehane has published five mystery novels and a number of short stories. The most recent novels are Murder at the 42nd Street Library,(April 2016) and Murder in the Manuscript Room (November 2017). Recent stories appear in Alfred Hitchcock Mystery Magazine and Ellery Queen Mystery Magazine. He holds an M.F.A. from Columbia University School of the Arts. Christopher Linforth holds an M.F.A. from Virginia Tech. His debut short-story collection-When You Find Us We Will Be Gone--was released in 2014. He has published fiction and nonfiction in dozens of literary magazines, including The Millions, Gargoyle, Southern Humanities Review, The Rumpus, Notre Dame Review, Denver Quarterly, and many others. John Lingan has written for The New York Times Magazine, The Oxford American, BuzzFeed, The Virginia Quarterly Review, The Baffler, and many other magazines and websites. His first book, a narrative nonfiction account of the last honky-tonk in the Virginias, will be published by Houghton Mifflin Harcourt in Summer 2018. He lives in Rockville. Peter Mandel is the author of eleven books for children including Jackhammer Sam (Macmillan), Zoo Ah-Choooo (Holiday House), Bun, Onion, Burger (Simon & Schuster), Planes at the Airport (Scholastic), and Say Hey! A Song of Willie Mays (Hyperion). He’s a regular contributor to the travel sections of The Washington Post, The Boston Globe, and The Huffington Post. More about him at: www. petermandel.net. Alyce Miller is the award-winning author of five books, and more than 250 published stories, poems, essays, articles, and reviews. She is the award winning Professor Emerita from the graduate M.F.A. program in writing at Indiana UniversityBloomington. Nicole Miller worked at The New Yorker and The Oxford English Dictionary, where she is a longstanding scholarly reader in the etymology division. She has published fiction in The May Anthology of Short Stories, edited by Jill Paton Walsh and Se-

The Writer’s Center bastian Faulks and won the 2014 Dorothy Cappon prize for the essay in New Letters magazine. She held the Graduate Fellowship in Creative Writing while completing an M.F.A. at Emerson College, Boston, and received a Ph.D. in Victorian Literature from University College, London, in 2012. Kurt Olsson has published two collections of poetry, the most recent being Burning Down Disneyland (Gunpowder Press), selected by Thomas Lux as the winner of the Barry Spacks Poetry Prize. His first collection, What Kills What Kills Us (Silverfish Review Press), was awarded the Towson University Prize for Literature. Mary Quattlebaum is the author of 27 award-winning children’s books, including Pirate vs. Pirate, Jo MacDonald Hiked in the Woods, and nonfiction chapter books on amazing animals. She teaches in the graduate program in writing for children at the Vermont College of Fine Arts, reviews children’s books regularly for The Washington Post and Washington Parent, and speaks frequently at schools and conferences. More about her at: www. maryquattlebaum.com. Emily Rich has edited nonfiction for literary journals for over five years. She writes mainly memoir and essay. Her work has been published in a number of small presses including Little Patuxent Review, r.kv.ry, Delmarva Review, The Pinch, and Hippocampus. Her essays have been listed as notables in the 2014 and 2015 editions of Best American Essays. She teaches memoir writing at the Lighthouse Literary Guild in Salisbury. Cara Seitchek has written grant proposals for local, state, and national nonprofit organizations. In addition, she evaluates proposals for the Institute of Museum and Library Services, American Association of Museums, and the Maryland State Arts Council. She has an M.A. in writing from The Johns Hopkins University. Alex Smith is the author of Hive, The Berserk, and Blown. His novelette Snow River recently appeared in the Terror in 16-Bits anthology. His writing appears in Theaker’s Quarterly Fiction, Black Ink Horror, Octopus Magazine, Dead Reckonings, and the Best American Poetry Blog. Alex holds a dual M.F.A. in fiction and poetry from The New School. He lives in Washington, DC. Marilyn Smith has a Ph.D. in education policy/ higher education and an M.A. in reading education. She has taken numerous writing classes from The Writer’s Center and has taught a wide variety of courses/workshops/seminars since 1969. Marilyn retired a few years ago and has recently published two books—her memoir and an anthology of medical memoirs. She lives in Chevy Chase, Maryland.

Workshop & Event Guide Summer 2018

WORKSHOP LEADERS Kris Spisak’s Get a Grip on your Grammar: 250 Writing and Editing Reminders for the Curious or Confused (Career Press, 2017) was written to help writers of all kinds sharpen their craft. Kris is an independent editor, a James River Writers board member, and co-founder of Midlothian Web Solutions. Mathangi Subramanian, Ed.D., is an award- winning writer and educator who believes stories have the power to change the world. In 2016, her novel, Dear Mrs. Naidu, won the South Asia Book Award and was shortlisted for the HinduGoodbooks Prize. A Bethesda native, she currently lives and works in India.

Julie Wakeman-Linn edited the Potomac Review for twelve years and taught fiction writing for fifteen years. Her novel, Chasing the Leopard Finding the Lion, a finalist for the Bellwether Prize, was published by Mkuki Na Nyota in 2012. Her story collection was a finalist for the WWPH 2014 fiction prize. She has presented at the F. Scott Fitzgerald, Literary conference, the Yale Writer’s Conference and at AWP. Joan Waites is the award-winning illustrator of more than 45 books for children and the author/ illustrator most recently of An Artist’s Night Before Christmas. She is also a mixed-media artist featured in national magazines. Joan has taught at the Corcoran Museum School of Art and Design and now teaches a variety of arts classes at her studio. More about her at: www.joanwaites.com.

Hank Wallace, a Columbia Law School graduate, was a government reporter for New Jersey’s Middletown Courier and Red Bank Daily Register, and the assistant director of law-school publishing for Matthew Bender. He wrote the FCC’s plain-language newsletter and newswriting tips for the Radio Television Digital News Association. Find more about him at: www.wsln.com.

Teach for Us The Writer’s Center is always looking for individuals to add to our talented pool of workshop leaders. If you are a published writer with teaching experience, please send a cover letter and resume to the attention of Laura Spencer, Director of Programs, at: laura.spencer@writer.org. LEADERS

Sara Mansfield Taber is author of the new writer’s guide, Chance Particulars: A Writer’s Field Notebook. She has also published the award-winning Born Under an Assumed Name: The Memoir of a Cold War Spy’s Daughter, Dusk on the Campo: A Journey in Patagonia, and Bread of Three Rivers: The Story of a French Loaf. Her essays, memoirs, and cultural commentary have appeared in literary journals such as The American Scholar, and newspapers including The Washington Post, and have been produced for public radio. More about her at: www.sarataber.com and www.sarataberwritingservices.com.

For 25 years Susan Tiberghien has been teaching creative writing both in the US and in Europe. She is the author of four memoirs, One Year to a Writing Life and just published Writing Toward Wholeness. An active member of International Pen, Tiberghien founded and directs the Geneva Writers’ Group (240 writers). Find more about her at: www. susantiberghien.com.

for the most up-to-date news and information, visit www.writer.org

FROM THE WORKSHOPS

The Writer’s Center

Many talented writers have passed through The Writer’s Center’s halls, taking multiple workshops and honing their craft. Below, you will find a tiny sampling of the work they produce, with the help of our talented workshop leaders. Thanks to all who submitted!

Relics of the Past Even stars die and disappear. Watching the past slowly Disintegrate before our eyes, never to return, some of us see the beauty still standing through the changing seasons. Some of us see the old barns Knowing that their time has come and they are like those stars, relics of the past, remnants and wonders of the present to be preserved in stories, pictures, memories of a time gone by. Mourned by a few, their purpose gone, as they, too, will be gone. Do not weep, salute them for a job well done.

Stages of Grief My aunt crushes me with a soft-bodied hug that feels like home. She cries, “I loved her so much!” My mother has just died, and it’s not true: I think of my aunt’s guarded politeness, my mother’s verbal shivs to the ribs. I see her, thin and haughty, roll her eyes at these histrionics, exactly as she would. I turn away from my aunt and speak to her out loud, “Be nice, mom.” We laugh together, as we would. The sky, feathered with exhaust from passing planes, is stretched like a canvas as I walk to class with poems in my ears. I am drunk with art, in love with everything I see: a small tornado of colored leaves, a nest fat with baby squirrels. Even the man who rants, “You are going to hell, God hates the way you live,” is part of this beautiful world. Can you even imagine that Melville spent a whole, incandescent chapter on The Whiteness of the Whale?

The wildflowers will be their memorials.

My mother comes back to life: I find her crouched in the linen closet outside her old bedroom. I smell her unwashed hair and touch her thin hands, bruised from IVs. I think of how to tell her my father is married, that his new wife sleeps in her bedroom. I don’t know how to say we’re all happier now she’s gone.

By: Charlotte Smutko

By: Bernadette McConville From Flash in a Flash with Tara Campbell

Workshop & Event Guide Summer 2018

FROM THE WORKSHOPS

Ekphrasis Mother, seated to my left. We ate formally, unless we were blessed by my father’s absence. On the wall, behind her an impressionist landscape: fields of corn and green; a farm house in back red tile roof, three birds flying black in a clouded sky. But most important a mauve swath with streaks of tan (perhaps a road, perhaps heron) starting lower right, sudden swing left through the field, rising above it past the farmhouse to nowhere in the corner. “Road” I say now, and some days then. But I am not sure. Often it seemed a heron. I watched both over the years. When father’s fists drew blood, sister cried, mother’s tears ran, the heron would fly me away and the road lead to another world. By: Joe Oppenheimer

On Walnuts In the park, near my house, grows a few mature walnut trees. Green balls form on its branches in the fall, tantalizingly within reach. I have pulled some off and crushed them with one stomp, to see what a young walnut looked like. Even then, the nut had an unmistakable likeness to the human brain, its two halves covered with convolutions. How did walnuts evolve into such a human likeness? Or, will humans evolve into walnuts? Being a walnut is highly adaptive, in my opinion. I was just talking to someone about being a walnut, growing up with Chinese parents in Utah—my outward shell of conformity protecting my authentic self. To please is the nature of the shell, but within the shell, the core self is left alone to breathe and be. The world is a toxic place, full of insanity. Being a walnut means having a sane place to hide myself, in the midst of all the nonsense. I have been a walnut for decades, waiting for the moment when I could emerge unscathed, in my full authentic glory. The shift happened unexpectedly one evening. The loss of a friend reawakened the anguish and despair that once made me vow, to “never love anyone again.” Through my sobs, I said over and over again, “God, please help me heal this. It was so painful. I couldn’t bear it.” That was my moment. Hardly glorious, but afterwards, I felt relieved. By Alice W. Lee From Essaying the Self with Michael Sheehan “The assignment was to write a piece, in the manner of Montaigne’s essays, that began with: On/Of ___. This workshop has been so enriching and helpful. I have enjoyed hearing other people’s stories, and learning from the reading assignments each week.”

From 6 Poems, 6 Weeks with Marie Pavlicek-Wehrli for the most up-to-date news and information, visit www.writer.org

FROM THE WORKSHOPS

The Writerâ&#x20AC;&#x2122;s Center

The Torch Our legacy a torch

We grateful guardians of

Passed on to you

Your legacy a torch

All we hold sacred

Given to treasure

Love of country

Sacred Mother Earth

Justice, equality

Love of country

Family, faith, freedom

Justice, equality

The arc of justice will one day

Faith, freedom, family

Bend your way

The arc of Justice will one day Bend our way

Our legacy a torch Threatened by greed Need for power

By Mari G. Craig From All About Tone with Sue Ellen Thompson

Through the darkness Your light will shine brighter still The voice of truth will have its say The arc of Justice will one day Bend your way Our legacy a torch To hold sacred the trust of A bountiful planet Lush, green forests Animals, birds, butterflies The arc of justice will one day Bend your way Our legacy a torch Indigenous tribes Ocean filled wonders Whales, coral reefs Arctic laced Northern Lights Penguins and polar bears The arc of Justice will one day Bend your way

Workshop & Event Guide Summer 2018

Squeezing Silver

Peru’s Trial Against Nelson Bunker Hunt by Mark A. Cymrot Mark Cymrot, Writer’s Center board member, authored a memoir that takes the reader inside the courtroom of one of the most important trials of recent decades. “A fascinating view inside what was perhaps our first modern financial meltdown. Mark Cymrot’s meticulous account reads like a legal thriller— complete with larger than life characters, secret liaisons, and all the machinations we have come to expect from powerful defendants.” Simon H. Johnson, Chief Economist, International Monetary Fund (2007-08). “Squeezing Silver is a major reference for those who want to bring about justice through the courts. This book explains in captivating style Mark’s outstanding work for Minpeco.” Jose Ugaz, Chairman, Transparency International (2014-16). In 1988, a New York jury awarded Minpeco S.A., Peru’s mineral sales agent, $197 million from Texas oil billionaire Nelson Bunker Hunt and Saudi royalty for conspiring to squeeze silver prices. When silver prices spiked from $9 to $51, they pocketed billions while thousands were cheated. When prices crashed, the Hunt defaults threatened the U.S. economy. Paul A. Volcker, Federal Reserve Chairman, engineered the first, controversial too-big-to-fail bailout to save the U.S. economy from collapse. Published by Twelve Tables Press. Available on Amazon Books and markcymrot.com

for the most up-to-date news and information, visit www.writer.org

BOOK TALK Classical Storytelling and Contemporary Screenwriting Brian Price ISBN: 978-1138553408

An entertaining and accessible examination of Aristotle’s analysis of the guiding principles observed in the successful dramas of his time—and how to apply them to the most modern of storytelling mediums. Ideal for aspiring screenwriters who want a comprehensive step-bystep guide to writing a successful screenplay the way the pros do it. www.brianpricescreenwriting.com

Last Puffs Harley Mazuk ISBN: 978-1945734205

Frank Swiver and his college pal, Max, both fall in love with Amanda Zingaro, courageous Republican guerilla in the Spanish civil war. But the local fascists murder her and her father. Eleven years later, Frank’s a private eye, and Max a criminal attorney. Then Max meets a dead ringer for Amanda. She has tracked the fascists from her village in Spain to California, and wants Frank to help her take revenge. www.newpulppress.com/bookpage/lastpuffs.html

“The Sweetest Right Handed Swing” in 1950’s Baseball Roy Sievers ISBN: 978-1476668697

Few players in the history of baseball suffered as many professional setbacks as Roy Sievers (1926-2017). After an award winning rookie season in 1949, he endured a year and a halflong slump, a nearly careerending injury, and a major position change—all from 1950 through 1953. Traded in 1954, he prevailed and became one of the most feared hitters of the decade. Drawing on original interviews

with Sievers and teammates, this biography covers the life and career of a first baseman who overcame adversity to restore a dispirited franchise. www.amazon.com/RoySievers

The Writer’s Center Tree. Illustrations by Sheila Harrington. Available on Amazon. All profits go to charity. www.thesurvivortree.com

The Way We Are Brave Healing, a Guide for Your Journey Laura Di Franco Coming Soon in June 2018!

Brave Healing, a Guide for Your Journey is a teaching memoir from expert holistic physical therapist, Laura Di Franco. Weaving together over two decades of experience, she offers powerful tools that redefine healing. What if there’s something you haven’t learned yet that could change everything! This is that book! www.possibilitiespublishingcompany.com

Lying, Cheating, and Occasionally... Murder Ginny Fite ISBN: 978-1626948655

When it comes to murder, even brilliant scientists aren’t immune. The night Harold Munson is shot dead in his car, the primary suspect is the man’s brainiac wife. But Charlotte swears all she wants is a Nobel Prize for curing brain cancer, even if that requires fudging her research and a few dead patients along the way. When the next body drops, all signs point to Charlotte, but Detective Sam Lagarde doggedly follows the clues until he has his own Eureka moment.

The Survivor Tree: Inspired by a True Story Cheryl Somers Aubin ISBN: 978-0983833406

Cheryl Somers Aubin’s book, The Survivor Tree: Inspired by a True Story takes the reader on a journey of hope and healing by imaginatively describing the experiences, memories, and feelings of the 9/11 Survivor

Frank W. Putnam ISBN:978-0998083308

From newborn infants to meditating Zen monks, neuroscientist Frank Putnam investigates states of mind that underlie everyday and unusual mental experiences. “This remarkable book brings together mental states previously considered separate and brilliantly connects them…opening up a new perspective on human psychology.” —Richard Rhodes, Pulitzer Prize-Winning Science Writer

Library of Small Happiness Leslie Ullman ISBN: 978-0-997201123

Not since William Stafford’s quartet of meditations on the writing life has there been a book about the craft of poetry that is ego-less, open-minded, intuitive, generous…and just plain smart as Library of Small Happiness. A hybrid collection of essays, exercises, and poems, it explores… the “sacred space” in which we write and read poems. —excerpt from blurb by David Jauss n

Library of Small Happiness

Essays, Poems, and Exercises on the Craft of Poetry LESLIE ULLMAN

A Place of Miracles Lee Hilling ISBN: 978-1478746911

A Place of Miracles tells the story of one of Afghanistan’s most remarkable success stories. Arising during a time of seemingly never-ending war, the French Medical Institute for Mothers and Children is a place where people have survived and succeeded against overwhelming obstacles and odds.

Workshop & Event Guide Summer 2018

BOOK TALK Teach to Work

Coming Around

Substance

Patty Alper

Richard Rose

B. Rae

ISBN: 978-1629561622

ISBN: 978-1947860063

ISBN: 978-1981622771

Teach to Work is an inspired “call to action” for reticent mentors: bankers, scientists, engineers, accountants, journalists, etc., who ask, “How would I work with kids?” Written by distinguished author, speaker, and philanthropist Patty Alper, Teach to Work is a culmination of what she’s learned from 15+ years of mentoring, coupled with corporate case studies, expert research, and best practices.

These poems about family, slaves, and the sugar business embody Rose’s “experience trying to imagine and understand . . . our people, free and enslaved.” Jay Parini says that Rose is “one who can hold contradictions in his head with the mercy of understanding and sympathy.”

Gravity Changes

Delmarva Review

Zach Powers

ISBN: 978-1974501151

ISBN: 978-1942683377

Gravity Changes is a collection of fantastical, off-beat stories that view the quotidian through the lens of the absurd. Set in a surreal world populated by children who defy gravity, a man married to a lightbulb, and the Devil’s ex-wife, these stories skew reality, finding new ways to illuminate truth. zachpowers.com

Delmarva Review celebrates its 10th anniversary with memorable prose and poetry from 40 authors in 18 states. Themes touch on change and hope amongst life’s uncertainties. Editors selected 41 poems, 11 short stories, five nonfiction essays and book reviews for the 10th edition. www.delmarvareview.com

A little book of 20 poems, Substance digs into the realities of trauma, addiction, and the anxieties of recovery. Engaging and raw, it lays bare the highs and lows of addiction and sobriety. With notes and reflection questions, Substance addresses effects of addiction, the drug war, and healing through the arts. 100% 5 stars on Amazon. www.b-rae.com

Advertise Your Book in Book Talk! $50 for members of The Writer’s Center Fall Issue Deadline: June 22, 2018 Go to: www.writer.org/adrates for more information. Summer

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Found in Translation: Poet Lore’s 21st-Century Return to World Poetry By Jody Bolz and Suzanne Sweizig

oet Lore, America’s oldest poetry journal, has been published by The Writer’s Center for almost 30 years. In the global village we now inhabit, where a protester in Tehran can send an image around the planet in seconds from a cell phone, it’s hard to imagine how exotic far-flung cultures seemed in 1889, when Poet Lore’s founders printed their debut issue. Despite this—or because of it—these brilliant young scholars, Charlotte Porter and Helen A. Clarke, embraced artistic achievement across political and linguistic borders, making it their mission to publish literature in translation and present great world writers to American readers who may never before have heard their names. Among these were luminaries Frederic Mistral, who was celebrated in Poet Lore in 1890, 14 years before he shared the Nobel Prize in Literature with another Poet Lore author, José Echegaray; Rainer Maria Rilke; Paul Verlaine; Rabindranath Tagore (a Nobelist in 1913); along with Henrik Ibsen, August Strindberg, and Anton Chekhov, whose plays appeared in full in the magazine’s pages. In the journal’s 25th anniversary issue in 1914, the editors wrote: “Poet Lore is introducing to its readers today the unknown geniuses who are to become world famous tomorrow.” It seems a wild boast—until you read what they’d published. As literary scholars who believed in the evolutionary nature of art, Porter and Clarke saw relationships among distinct cultural movements and brought them to light within the covers of the

journal. Their inquiry ranged from Europe to the Middle East, Asia, Latin America, and beyond. In its first two decades, the magazine published translations from scores of languages, including Icelandic, Gaelic, Yiddish, Ukrainian, Bohemian, Armenian, Serbian, Hindi, Bengali, Japanese, and Chinese. They looked closer Poet Lore and the Library of Congress co-sponsored reading from to home as well, publishing the translations of Uruguayan poet Idea Vilariño. From left: Library of translations of Native-AmeriCongress staff members Georgette Dorn, chief of the Hispanic Divican chants. Progressive in their sion (who read the poems in their original Spanish); Robert Casper, of the Poetry and Literature Center; and Jesse Lee Kercheval, political views as well as their head poet and translator. Photo by: Shawn Miller aesthetics, Poet Lore’s editors refused to reinforce the cul(connections to university language tural fragmentation that rose from national conflicts. In his 1966 over- departments, for example), we’d had no way to vet translations on a poem-byview of the magazine’s early years (Poet poem basis. If we were going to publish Lore, Vol 61, No 1), Professor Melvin H. international poetry in Poet Lore, we’d Bernstein wrote: need to start by finding gifted translators. Just as [Poet Lore] without arguOpting for depth over breadth, we dement published Russian literature cided to showcase a 10-12-page portfolio in a decade of mounting Red fear, of poems by a single writer, rendered in so in the same decade of anti-imEnglish by a translator with whom we migrant feeling, 100 per cent Ameri- could work closely, in the Spring/Sumcanism, anti-Semitism, and antimer issue each year. We launched our Negroism, Poet Lore published work “World Poets in Translation” feature in on and by Yiddish writers, work on 2012 with Thomas E. Kennedy’s translaand by Negro writers. tions of Danish poet Dan Turèll, whose jazz-inspired work held special appeal What a history—and what a vision of for American readers. Given the success literature’s power to connect us. of that first portfolio, we invited poet and In order to reengage the magazine with translator Suzanne Zweizig to join our translation in our own time, co-executive small staff as translation editor—and editor E. Ethelbert Miller and I confront- under her guidance, Poet Lore’s reach has ed the circumstances that had made this extended far and wide. work untenable for a number of years. —Jody Without access to academic resources Workshop & Event Guide Summer 2018

ith the annual translation portfolio, we strive to do what Poet Lore has always done best: discover new voices. We search not only for original, strong voices on the world stage; we also strive to represent languages and literatures that are less-commonly translated. Since our initial portfolio, we have published poets from Turkey (Melih Cevdet Anday), Myanmar (U Tin Moe), Iran (Rira Abbasi), Uruguay, (Idea Vilariño), Togo (Anas Atakora), and Macedonia (Ilja Kostovski). Some of these writers, such as Rira Abbasi and U Tin Moe, had never been published before in the United States. Each of our translated poets brings into English a voice and a perspective that are entirely unique—from the exiled U Tin Moe’s longing for his native Burma, to the musical mix of traditional and French rhythms in Togolese poet Anas Atakora, to the resonant surrealism of Rira Abbasi, who writes from war-torn Iran. What they share—and what we search for—is

From the start, Poet Lore’s brilliant founding editors, Helen Clarke and Charlotte Porter, committed themselves to publishing world literature.

a translated voice that leaps off the page with the same fluidity, urgency, and arresting imagery that any extraordinary poem does in English. The literary translators who bring these poets to us are as integral to the project as are the original writers. Poet Lore has been proud to present the work of such accomplished translators as Sidney Wade, Christopher Merrill (director of the University of Iowa’s renowned International Poet Lore and the Embassy of Turkey co-sponsored reading from the Writers’ Program), Jesse translations of Turkish poet Melih Cevdet Anday. Poet Sidney Wade, right, read in English, while a Turkish actress (unidentified) read in the Lee Kercheval, and the late Donald Hitchcock. In keep- original language. ing with the magazine’s spirit of openness, we have also been honored to presthese translated voices to life. In 2013, ent the work of emerging translators we staged a reading by translator Sidney like Hodna Nuernberg, who brought us Wade at the Turkish Embassy, which Atakora, and Maryam Ala Amjadi, who drew 100 people to hear the poems of introduced us to Abbasi. Melih Cevdet Anday in both his native Turkish and in English. We also formed These translators are the link between a partnership with the Library of Conour readers and the poets’ work. They gress Poetry and Literature Center, which enable us to hear the voices they hear hosted Merrill, in 2014, reading from his and to respond to the writing they love. translations of U Tin Moe, and Kercheval, Each translator writes an introduction in 2016, reading from her translations of to the portfolio that not only provides Vilariño. a window into the poet’s life, language, and culture, but also describes his or her Poet Lore’s recommitment to the work personal experience of coming to know of translation is based on the belief that and value that poet’s work. Sometimes, it embodies the best impulses of art and as with Hitchcock and Kostovski, there is humanity: the desire to understand, the a real-life friendship between poet and curiosity to reach out, the generosity translator. Other times, as with Kercheval to include—to make room at the table and Vilariño, the connection was formed for new voices. For us as stewards of on the page, at the moment the translator America’s oldest poetry journal, publishpicked up the poet’s work and read it for ing “World Poets in Translation” is both a the first time. return to the mission of our founders and a meaningful way forward in our own Poet Lore’s location near Washington, turbulent century. DC, has also provided us the extraordinary opportunity to bring the beauty of

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—Suzanne

Inside the

Theatre

ver the decades The Writer’s CenO ter has hosted many great companies in our facility’s black box theatre. We checked in with our resident theatre companies, Quotidian Theatre Company and Flying V Theatre, who gave us a little information on their past, present, and future. Catch their upcoming performances around town while we are under construction this Summer, and then join us back at the Center after our reopening for their next season. Quotidian Theatre Company

In 2004 Quotidian staged its first play, The Weir by Conor McPherson, and has subsequently produced over 40 plays at The Writer’s Center. Our mission is to find truth and beauty in the everyday, presenting plays in an understated, impressionistic style. This is a theatre that doesn’t rely on special effects; just piercingly truthful acting and no-frills storytelling about the poetry of everyday life. By providing realistic situations and dialogue, Quotidian lets audiences witness events as if over a backyard fence or through an open window, thus illuminating the depth and dignity of ordinary human experience. QTC co-founders Stephanie Mumford and Jack Sbarbori bring

a wealth of experience to the Company. Mumford received the Theatre Lobby’s Mary Goldwater Award for her direction of The Sea Gull in 1992. Sbarbori’s direction of Foote plays has been recognized by many awards, but the greatest honor came when Foote allowed him to direct the de facto premiere of The Day Emily Married. Foote praised the production, and afforded the cast and production team full credit when the play was published in 1998. This summer Quotidian can be found at the old Round House Theater in Silver Spring with a production of An Irish Twist on William Shakespeare’s A Midsummer Night’s Dream. TWC members receive a 50% discount on tickets! For more information, go to www.quotidiantheatre.org. Flying V Theatre

Flying V is your Friendly Neighborhood Indie Theatre! A gateway drug that bridges the gap between pop culture and high-culture, we are dedicated to the creation, development, and production of vibrant original work, offbeat contemporary plays, and performance art inspired by genre fiction and other modern mythologies. By creating work that reflects the intimate struggles of the human condition

through vivid, high concept metaphors and artistic vigor, we hope to shine a light on the loneliness and isolation that so many feel and create a sense of connection and wonder. In April we’ll be holding our second Awesome-A-Thon, a 24-hour festival of plays, readings, games, and more at our offices in the Bethesda Regional Services Center. Admission is Pay What You Can—with a full bar and board game lounge going the whole time! In the fall we’ll be premiering our new play Sheila & Moby. A young girl has come to Sheila seeking help tracking down her missing best friend, a recently kidnapped stuffed Koala. Reluctantly taking the case, Sheila enlists the help of her own abandoned childhood companion—an Iberian Lynx named Moby—for one last best buddy adventure. An exploration into the power of imagination, the changing relationships between parents and children, and what it means and possibly costs to grow up. Dates and location are TBD, but you can keep up to date with this and all info at our Facebook page, or website: www.flyingvtheatre.com.

Workshop & Event Guide Summer 2018

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Workshop & Event Guide Summer 2018

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