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

THE WRITERâ&#x20AC;&#x2122;S GUIDE Fall 2018

Meet DC Authors Philip Dean Walker & John Copenhaver pg 5 Fall Events pg 11 Workshop Schedule pg 13

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The Writer’s Center The Writer’s Guide Fall 2018

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DEPARTMENTS A NOTE FROM THE EDITOR 4

INSTRUCTOR BIOS 25

WORKSHOPS:

BOOKTALK 30

Guidelines 12 Schedule 13

Editor

Zach Powers Contributors

REGISTRATION 39

Kenneth D. Ackerman Bailey Blumenstock Caroline Bock Susan Coll Naomi F. Collins Mark Cymrot Sally Mott Freeman James Mathews Joram Piatigorsky Laureen Schipsi David Y. Todd

Descriptions 17

FEATURES 5 Debut by a D.C. Author John Copenhaver dishes on the mysteries that inspired his acclaimed new novel, Dodging and Burning.

7 Homegrown Short Stories Philip Dean Walker shares how the characters in his second short story collection, Read by Strangers, come alive on the page.

Graphic Design

Virtually Detailed, Inc.

9 Learning to Take Your Time

Copyeditor

Laura Spencer

Susan Coll, instructor of The Writer’s Center’s Novel Year Program, explores the virtues of a slow approach to writing novels.

28 Rediscovering Writing Caroline Bock, author of the new story collection Carry Her Home, takes us on a writer’s journey to reconnect with the craft she loves.

Cover Image

Barn Swallow by Juliana Peloso, used with permission of the artist.

31 Poets Know Best Poet Lore Managing Editor Laureen Schipsi highlights the magazine’s ongoing efforts to discover new writing and give new voices a place to be heard.

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.

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A NOTE FROM THE EDITOR folks we most want to welcome. Thanks to support from the State of Maryland, Montgomery County, our Board of Directors, and numerous private funders, our beloved old building is getting a fresh, more accessible façade.

Zach Powers

ince The Writer’s Center first moved to our current building in Bethesda in 1992, thousands of people have climbed the front steps to take workshops and attend literary events. We’ve made it our goal to welcome all writers, regardless of background or experience, and now our home will be a little easier to access for many of the

IN THIS ISSUE We’ll introduce you to two D.C. authors: Philip Dean Walker shares his thoughts on the local literary community, and debut novelist John Copenhaver offers insights on how coming out is its own sort of mystery story. Caroline Bock, one of our instructors, tells the tale of her writing journey, passing through The Writer’s Center and ending with her new short story collection. We have notes from Poet Lore on how the nation’s oldest poetry journal has evolved heading into its 130th year of continuous publication. Novel Year instructor Susan Coll discusses the virtues of taking your time when writing a book. And of course,

If you’ve walked down Walsh Street recently, you’ve certainly noticed that our front porch has been completely removed. In its place, we’re adding an ADA-compliant ramp as well as a spruced-up entryway. Inside, the old staircase has been altered to allow for the addition of a lift, and five new offices will give visitors improved access to The Writer’s Center staff. These changes are, on the surface, small. But there’s nothing small

The Writer’s Center about inclusion. It’s a deliberate act, one that must be considered and pursued each day. Renovating our entrance is just the next small step in continuing to make this building, our literary home, a truly welcoming place. I hope you’ll be here with us as we keep growing The Writer’s Center family. -Zach Powers

Rendering of The Writer’s Center by McInturff Architects

check out our complete list of Fall 2018 workshops and events, including our Grand Reopening on Friday, November 2. ABOUT THE COVER We’re spreading our wings for a new season at The Writer’s Center as well as preparing to welcome you all back to our renovated space. The eager little barn swallow on the cover seems like the perfect mascot for the busy months ahead. Award-winning artist Juliana Peloso has exhibited her paintings in galleries and museums from the Oregon coast to the low country of Georgia. Her works explore the relationship

of nature with humanity, and her bird paintings, in particular, capture the animals in moments that appear both candid and posed. She currently resides in Savannah, Georgia, where she works as a gallery director. SPECIAL THANKS We would like to extend a huge thank you to The Harvey Companies. They’ve been kind enough to provide free parking for The Writer’s Center staff during our building’s renovation. We’re grateful to have such fabulous neighbors here in Bethesda.

Workshop & Event Guide Fall 2018

Under the Surface: An Interview with John Copenhaver By Zach Powers

ohn Copenhaver knows that a good mystery has a lot less to do with a crime than it does with the people who are investigating it. Born and raised in southern Virginia, he graduated from the M.F.A. program in Creative Writing at George Mason University and now lives in Washington, D.C. His debut novel, Dodging and Burning, was released to rave reviews earlier this year. When he’s not writing, he teaches and chairs the 7-12 English Department at Flint Hill, a college preparatory school outside Washington. He was kind enough to share a peek at the inner workings of his mystery and offer a few tips for writers of all genres. Let’s start with a broad question: Why mysteries? Since I was a kid, I’ve been fascinated with the murder mystery structure. I remember reading my first Agatha Christie, Sleeping Murder, and watching and re-watching the Peter Ustinov Christie film adaptations, particularly Death on the Nile and Evil Under the Sun. Something about the glamourous veneer of Christie’s worlds being disrupted by murder and then set in order again by a social outsider, Poirot or Marple, was compelling to me. I lost my father to lung cancer when I was eight, which of course, shook my world. Perhaps I detected some sort of coping mechanism in the structure of

a murder mystery? If I used my wits and my brain, I could make sense of a world without a father. Many of your characters are struggling with their identities, or at least struggling with how they identify themselves in relation to others. Why did this theme mesh so well with the mystery genre? Essentially a mystery is two stories: the surface story, how events and relationships first appear, and the truth, what really occurred, who these people really are. Because we live in a society with certain assumed norms—white, straight, cis-gender, etc.—crafted by age-old power dynamics, there’s always one dominant narrative that gets told, the surface story. In this case, if you’re a young man who seems straight, the norm is that you must be straight. Folks just assume it. Like a mystery story, my central character, Jay Greenwood, has to disrupt his surface story—the story laid out for him by his prominent (if much diminished) family—to attempt to tell the truth about himself. In many ways, coming out is like the reveal at the end of a mystery novel, but of course, if you’re the one coming out, you’re both detective and deceiver. So-

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Photo by E. Brady Robinson

ciety has forced you into the role of deceiver because of those norms. The book’s two narrators, Bunny and Ceola, are writing in the present, reflecting back on events of decades earlier. Why did you choose to create this distance between the narration and the action? First of all, I wanted this novel to be an adult novel. If I had Ceola and Bunny narrating as their younger selves, twelve and twenty respectively, the novel might have been read as YA.

There’s nothing wrong with YA, but it just wasn’t what I was aiming for. Also, the more distance characters have from the events they’re narrating, the more reflective they can be. Both Bunny and Cee, even in old age, are still struggling with the events of the summer of ‘45. I don’t necessarily believe that distance provides clarity; in fact, it can obscure the past, but in this case, that distance—and the shift in attitudes toward gay people—helps these women understand Jay and the events of the past better. In one of the novel’s early chapters, the character Jay says, “Writing about someone else’s tragedy was his way of saying something about himself.” Why was this story important to you personally?

This is your first book. What has been the best part of the ride? The most surprising?

Finally, what’s one piece of advice you’d give to aspiring writers?

The best part has been being able to hold my debut in my hands. Pegasus did a great job with the hardcover, so it was a big moment to open the box and see it there, creepy and beautiful. It was validating. The most surprising part has been how my book has reconnected me with old friends and family I don’t see often. It reminds me how reading, although an individual activity, builds community in a way that social media fails to. To be a part of a shared cultural experience has been thrilling—and satisfying.

Write a book that matters; don’t write just to publish. We don’t need more books; we need more good books. Hard work and perseverance are essential to being a published writer. If you don’t like to work or think writing is easy, this isn’t the right field for you. If you have a vision for what you’re writing, that vision will see you through the gauntlet of rejection you’re sure to experience. Read deeply (not just broadly) and, when you write, remember your readers: What are their needs? How can you be clearer for them? How can you entertain them? How can you challenge them? How can you move them?

I’m so fascinated (and delighted) that readers continue to pick up on that phrase! Of course, Jay is telling one story to Bunny and Cee to attempt to communicate something about himself. Many writers do this. I’m no different. Essentially Dodging and Burning is a tragic story, but my story of coming out isn’t. I’m so grateful, but I’m also startled by how difficult it would’ve been for me had I been trying to come out during Jay’s time—and then add a brutal war on top of that! I worry that I take too many things for granted. I worry that younger gay men don’t know enough about LGBTQ history and will take even more for granted. I’m trying to say to myself—and then to my readers—remember the tragic moments in our history. They’re instructive. They’re cautionary tales. They teach us how to be better people, how to be a better society.

Workshop & Event Guide Fall 2018

The People on the Page: An Interview with Philip Dean Walker By Zach Powers

hilip Dean Walker crafts masterful narratives full of humor and understanding, taking readers deep into the minds of his characters. A native of Great Falls, Virginia, he received his M.F.A. in Creative Writing from American University and now lives, works, and writes in Washington, D.C. His first book, 2016’s At Danceteria and Other Stories, imagines the personal lives of 1980s-era celebrities as the AIDS epidemic simmers in the background. His follow-up story collection, Read by Strangers, was released in April. Phil joined us to discuss his new book and what it’s like to be a working author in Washington. Your first book focused on a cultural moment, but Read by Strangers covers a lot more ground. What were the advantages and disadvantages of writing thematically linked stories? Before my first book was published, I always resisted writing a “linked” short story collection. It seemed like everyone in my M.F.A. program was either writing one of them or working on a novel (which has always seemed equally daunting to me). My stories have always been, like, all over the place and were only ever linked by virtue of the fact that I was the one who wrote them. I never thought I would (or even could)

write a linked collection. Then I stumbled upon the first story of At Danceteria and Other Stories. Then I wrote another, then another and another and another and then, all of a sudden, I had a thematically linked collection. So, never say never, I guess! The advantage of writing a linked collection is that you have a kind of blueprint for each new story. I had five elements that each story in Danceteria needed to hit in order to make it into the book so I had a rare road-map by which to travel (you just DO NOT really get those in the world of fiction). One disadvantage would be that lack of free range malleability one has in a collection that is more disparate (like Read by Strangers where I kind of “off-road” quite a bit with stories, characters, form, etc). This disadvantage can easily be made into an advantage though. I think it’s always a good idea to not let the reader get too comfortable. I wrote a story for Danceteria that veers off the path of the

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Photo by Robert C. Walker

other stories, yet is also still of a certain theme (“The Boy Who Lived Next to the Boy Next Door”). It gave me some room to play around within my genre. This sounds super corny, but I love the power of turning a supposed negative into a positive. For me, the most striking aspect of your writing is your characters. They come alive on the page in even the simplest of interactions. Why is character so important to you and how do you develop it so well? Thank you for that compliment, Zach. It means a lot to me because I really love character. The only thing I love more in writing is probably the language itself. Characters drive story.

When characters do something on the page, they are moving the momentum of the narrative (this seems obvious but it actually needs to be stated outright sometimes). I spend a lot of time with a character before I even put a single word down on the page which might be why they seem more “alive.” I love flawed people mainly because they provide so much material for a story. I love to think of the things they would say— dialogue has become really important to me in the past couple of years, it just has to be believable or your reader will check right out. I might have spent too much time worrying about the characters in Read by Strangers and how readers would respond to them. Many of them are, to put it plainly, not good people. Some of them make horrible choices and do bad things. But I don’t think people want to read about nice, boring people doing nothing. If someone walks away remembering a single detail about a character, weeks or even months after reading a story, it’s a success to me. I think one of the most important skills a writer can possess is empathy. A good writer must have it and must be able to summon it to deal with all kinds of characters. I think that’s one of the key ingredients to making them seem real. I mean, who was the last sociopath you know who put out a good novel or short story? You also write about place beautifully. How has living in Washington influenced your writing? Living in Washington has given me an appreciation for all kinds of people and all kinds of stories. And story can be located anywhere—at a big weekend brunch, at a party, on the other side of town in a neighborhood you’ve

always driven past but never ventured into. I was speaking about setting and place with another writer recently and I told her that setting should never overwhelm a story (unless the setting or place is essentially acting as a character in the story similar to what I do in Strangers’ “Unicorn”). There are a couple stories in my new collection that take place in Washington, D.C. or the surrounding environs, but it’s really just lightly suggested. Place is as important to a story as a writer chooses to make it. My stories that take place in Tokyo are very much connected to that setting so “place” has a more vital function in those pieces. How do you connect with the local literary community? I was lucky enough to have done my M.F.A. in D.C., which linked me up with other writers in the area, writers with whom I’ve kept in touch following graduation. Several of them became a part of my official cohort, the most valuable asset that comes with an M.F.A. I still maintain a connection to my M.F.A. program through current students. D.C. has this weird, undeserved reputation of not being a “writer’s city,” which I think is false especially when you look at the burgeoning literary scene that’s actually happening here. There are tons of reading series (Three Tents used to be popular and needs someone to restart it), Busboys & Poets has weekly open mic nights. There is the OutWrite writing festival in August which highlights LGBT writers and features craft classes, panels, a great book fair, and readings. There are also some really great and new independent bookstores that have their own events

such as East City Bookshop and Solid State Books. I just think that if you’re a writer in D.C. there are plenty of opportunities to engage with the community or even start creating your own community. It’s way more fun and original to introduce yourself as a writer than saying, “I work on the Hill for Senator X” or “I’m an attorney” so, at the very least, you’ll be a good fixture at cocktail parties because everyone wants to talk to an author. What would you like to see more of in the community? I’d like to see more mentoring opportunities for younger writers. I sought out my own mentors during graduate school and was very lucky that they were so receptive to helping me with my writing and my “career.” I’m not quite sure what something like that would look like, but I do know that I’ve gleaned so much valuable information from my own mentors. I try to give back to new writers in a similar way whenever or however I can. I’d also love to see the gay writing community really come out of the shadows in this city and start participating in more mainstream events. There need to be more gay writers featured at some of these bookstores. My first book proved that “gay books” have huge crossover appeal. Finally, what’s one piece of advice you have for aspiring writers? This is a great question, Zach. My biggest piece of advice is this: if you’re afraid of writing it, you must write it. Simple but true.

Workshop & Event Guide Fall 2018

The Long View: Giving Novels the Time They Need By Susan Coll, TWC Novel Year Instructor

tudents are frequently more interested in polishing their query letters than in perfecting their manuscripts. That’s a common thread I’ve observed in the many workshops that I’ve run at The Writer’s Center. I’ve heard many a student express the hope that even though the book is not yet the best possible version of itself, an agent or editor will recognize its potential. Perhaps they will even sit by the author’s side and serve tea while they revise. Writers are always in a rush to publish—I get it. I, too, am always itching to send off my not-quite-ready manuscripts. The tension between taking the time to write the best book I can and wanting to get it out into the world right away, is part of what keeps my fire burning. Last year’s Novel Year class—an intensive workshop in which ten novelists spend the year writing and revising their work-in-progress—aimed to take the long view, to slow down and give the novel time to breathe. Sometimes the novel is not ready for publication, and sometimes the world is not yet ready for the novel. Accordingly, I brought in three guest speakers whose work took years to find publishers, and yet who each ultimately had great success:

Julie Langsdorf In 2008 I ran a workshop at The Writer’s Center called Intro to the Novel. In walked Julie, who could have been teaching the class herself. The novel she had already largely completed was terrific, and I had little to offer her by way of advice other than to encourage her to find an agent. She did, rather easily, but the book failed to sell. The timing might have been off—at the center of her book are affluent suburban neighbors feuding over a behemoth home development project. Her novel was being shopped to publishers just as the housing market began to crash. She thought, “Well, okay, the huge house concept is dead now. I guess I missed the boat.” Julie put the novel in the proverbial drawer and moved on to other pursuits, but every once in a while she would pull it up, revise it, and put it away again. Last fall she decided to send it back out into the world. The agent who offered to represent her sent the book out on a Friday and by the following week she was fielding calls from editors. The novel, White Elephant, will be published next spring by Ecco. J.H. Diehl A middle grade author and Chevy Chase resident, Jean describes her book

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Photo by Lauren Shay Lavin

journey as more odyssey than cruise. She had an agent offer representation for the novel in late 2012, and the manuscript generated a flurry of interest. She was asked to revise for two major publishers, but when the second one still wasn’t satisfied with her second round of revisions for them, she and her agent pulled the book and started searching for a publisher all over again. In June 2016 she received an offer from Chronicle Books, with what she describes as “the kind of over-the-top enthusiastic letter from the editor that every writer dreams of getting.” The book is called Tiny Infinities, and Diehl’s protagonist, Alice, has the charming quirk of mentally categorizing life events. Tiny Infinities was picked as a Fall 2018 Junior Library Guild Selection almost as soon as it appeared in printed galleys. Alice would surely file this one under, “all you need is to find the right editor.” Paul Goldberg When I first met Paul some six years ago, he told me that although he had successfully published three books of

non-fiction, he’d been unable to sell any of the three novels he had written over the last decade. I took a look at his dusty manuscripts and zeroed in on one that seemed to me particularly smart. He made a round of revisions, gave it a new title, and his agent agreed to send it back out. Many of the editors who had initially rejected it were by now long gone, and it went back out to several of the same imprints. The Yid was published by Picador in 2016 to wide acclaim and was a finalist for two prizes. Why did this one succeed the second time around? Perhaps the manuscript needed some sharpening, or maybe the provocative new title cast it in a new light, or maybe it was just a matter of serendipity. (Also full disclosure, Paul and I are now married.) The drive to put your work out into the world is healthy, and I’m not suggesting anyone stop trying. It’s good to keep pushing forward—it’s also good to step back. I happen to believe that there is a nugget of truth in clichés about waiting and that sometimes good things happen later in life.

Susan Coll will lead our next Novel Year program! Be one of ten participants to enjoy the rigor and structure of an M.F.A. program as you workshop an entire novel-in-progress. This intensive workshop helps writers with either a draft of a novel ready for revision, or a novel substantially under way (approximately 75 pages already written). Each participant will have the opportunity to present up to 300 pages for critique, turning their early draft into a polished manuscript. The 21 sessions will run from September through June, and the total cost of the program is $5,000 ($4,500 for TWC members). Benefits include: •

Consistent writing deadlines

•

Discussions on writing craft

•

A supportive community

•

Panels and Q&As with experts in the industry, including a literary agent and visiting writers

•

Free access to the Studio at The Writer’s Center during the full year (valued at $1,000)

•

Free admission to literary events at the Center

•

A public reading at The Writer’s Center to conclude the program

For more information, please visit writer.org or email laura.spencer@writer.org.

Susan Coll is the author of five novels, most recently The Stager—a New York Times and Chicago Tribune Editor’s Choice. Her other books include Acceptance—which was made into a television movie starring Joan Cusack—Beach Week, Rockville Pike, and karlmarx.com. Her work has appeared in publications including The New York Times, Washington Post, NPR.org, atlantic.com, and The Millions. She worked as the Events and Programs Director at Politics & Prose Bookstore for five years.

Workshop & Event Guide Fall 2018

EVENTS

The Writer’s Center Contest Winners Reading Friday, September 28, 7:30pm

Join us in welcoming Sheila Martin, author of The Coney Island Book of the Dead, winner of the 2017 McLaughlin-Esstman-Stearns First Novel Prize, as well as our Undiscovered Voices Fellow, Julia Tagliere.

F. Scott Fitzgerald Festival Honors Richard Russo Friday, October 19, 7pm

Featuring remarks by Richard Russo and a reflection on his career by acclaimed writer Jennifer Finney Boylan, plus readings by D.C. authors Patricia Park and Tope Folarin. Visit fscottfestival.org for details.

The Writer’s Center Grand Reopening Celebration Friday, November 2, TBD

Join us as we celebrate our newly renovated space! The evening will include music, drinks, small bites, and activities designed to reintroduce you to your favorite place to write.

Washington Writers’ Publishing House Reading Saturday, November 10, 2pm

Featured Readers: • Kathleen Wheaton–President, Washington Writers’ Publishing House • Caroline Bock–winner of the 2018 Washington Writers’ Publishing House Fiction Award for her debut short story collection, Carry Her Home • Jona Colson–winner of the 2018 Jean Feldman Poetry Prize from the Washington Writers’ Publishing House for his collection, Said Through Glass Washington Writers’ Publishing House is a non-profit organization that has published over 60 volumes of poetry and fiction since 1973. The press sponsors an annual competition for writers living within 75 miles of Washington D.C., and the winners of each category (one in poetry and in fiction) comprise the press’s published works each year. A book signing and wine and cheese reception will follow the reading. All are invited.

End of Season Open Mic Sunday, December 2, 3pm

All TWC members, instructors, and workshoppers are invited to share a brief excerpt from their latest work at this open mic and party, celebrating the completion of another fabulous season of writing! Sign-up begins at 2:30pm, and the readings will begin promptly at 3pm.

Unless otherwise indicated, all events are held at The Writer’s Center, 4508 Walsh St, Bethesda, MD 20815. Visit writer.org for additional information.

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EVENTS

Fall 2018 Events & Activities

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.

Find Your Niche The Writer’s Center recognizes that all writers and styles are unique! Our staff can help you find the right course(s) for your level of experience, preferred genre and overall goals. Call us at (301) 654-8664.

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 Fall 2018

ADULTS WRITE FOR CHILDREN (PAGE 17)

LEADER

DATES

DAY

TIME

LEVEL

Writing Picture Books

Mary Quattlebaum

9/27–10/11

7–9:30 p.m.

ALL

Picture Books II: Revision

Mary Quattlebaum and Joan Waites

11/1

6:30–9:30 p.m.

I/A

FICTION (PAGES 17–20)

LEADER

DATES

DAY

TIME

LEVEL

The Extreme Novelist

Kathryn Johnson

9/12–10/31

7–9:30 p.m.

I/A

Fantastic Fiction Fix-Its: Manuscript Revision

Kathryn Johnson

9/15

10 a.m.–12:30 p.m.

ALL

Whodunnit? Writing the Mystery Novel

Alan Orloff

9/15

10 a.m.–12:30 p.m.

ALL

Conflict & Tension

Kathryn Johnson

9/22

10 a.m.–12:30 p.m.

ALL

Elements of Fiction: Dialogue

Alan Orloff

9/22

10 a.m.–12:30 p.m.

Write Tight!

Alan Orloff

9/22

2–4:30 p.m.

Contemporary Science Fiction

Gina Hagler

9/25–10/30

7–9:30 p.m.

I/A

Strong Beginnings

Lynn Auld Schwartz

9/29

9:30 a.m.–12:30 p.m.

B/I

Novel Openings*

Nicole Miller

9/29

11 a.m.–4 p.m.

ALL

NaNoWriMo Prep

Hildie Block

9/29–10/27

10 a.m.–1 p.m.

ALL

Taming the Beast - How to Organize Your Novel

Jennifer Handford

10/2–11/20

7–9:30 p.m.

ALL

Beginning Fantasy Fiction

Brenda W. Clough

10/9–10/16

7:30–9:30 p.m.

How to Write a Novel

John DeDakis

10/10

10:30 a.m.–12:30 p.m. ALL

From Novice to Novelist

John DeDakis

10/13

10 a.m.–5 p.m.

Scene Building

Kathryn Johnson

10/20

10 a.m.–12:30 p.m.

ALL

Creating Complex Characters

Lynn Auld Schwartz

10/20

9:30 a.m.–12:30 p.m.

B/I

Writing the Cozy Mystery

Kathryn Johnson

10/27

10 a.m.–12:30 p.m.

ALL

The Ghost Story Workshop*

Nicole Miller

10/27

11 a.m.–4 p.m.

ALL

The Gift Of Short Stories

Caroline Bock

11/3–11/10

10 a.m.–1 p.m.

ALL

Your First (or Next) Novel

Kathryn Johnson

11/3

10 a.m.–12:30 p.m.

ALL

How to Write a Novel*

John DeDakis

11/7

10:30 a.m.–12:30 p.m. ALL

How to Get Your Short Story Published

Zach Powers

11/10

10 a.m.–12 p.m.

B—beginner

I—intermediate

A—advanced

M—master

ALL—all levels

I/A

—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

FALL WORKSHOP SCHEDULE

The Writer’s Center

SCHEDULE

FICTION (CONTINUED)

LEADER

DATES

DAY

TIME

LEVEL

From Novice to Novelist*

John DeDakis

11/10

10 a.m.–5 p.m.

Classic Sci-Fi

Gina Hagler

11/13–12/18

7–9:30 p.m.

B/I

How to Write a Plot Synopsis

Kathryn Johnson

11/17

10 a.m.–12:30 p.m.

ALL

How to Plot Like a Pro

Kathryn Johnson

11/28–12/12

7–9:30 p.m.

ALL

Master Fiction Workshop: The Final Send-off

Alyce Miller

12/1

10 a.m.–4 p.m.

First Pages

Victoria Kelly

12/1

10 a.m.–1 p.m.

ALL

Beginning Fantasy Fiction

Brenda W. Clough

12/10–12/17

7:30–9:30 p.m.

MIXED GENRE (PAGES 20–21)

LEADER

DATES

DAY

TIME

LEVEL

Small Mutinies: Flash Fiction/Prose Poem

Alyce Miller

9/1

10 a.m.–2 p.m.

ALL

Let’s Get Ekphrastic: Four Weeks, Four Artworks

Tara Campbell

9/12–10/3

6:30–8:30 p.m.

Getting Started: Creative Writing Intensive

Nancy Naomi Carlson

9/22

12–5 p.m.

Inciting Events

Hildie Block

9/26–11/14

10:30 a.m.–1 p.m.

ALL

Writing as a Path to Healing

Laura Di Franco, MPT

10/2–11/6

6:30–8:30 p.m.

ALL

Boot Camp for Writers

Beth Kanter

10/10–12/5

10:30 a.m.–1 p.m.

ALL

Getting Started: Creative Writing

Elizabeth Rees

10/23–12/18

7–9:30 p.m.

Point of View

Alyce Miller

11/3

9:30 a.m.–2:30 p.m.

I/A

Getting Started: Creative Writing*

Patricia Gray

11/10–11/17

1–4 p.m.

How to Write A Lot

Kathryn Johnson

11/14

7–9:30 p.m.

ALL

Developing Craft in Fiction and Personal Essay Alyce Miller

12/8

10 a.m.–2 p.m.

ALL

Resolve to Write*

Patricia Gray

12/13–12/15

Th/S

1–3 p.m.

ALL

NONFICTION (PAGES 21–22)

LEADER

DATES

DAY

TIME

LEVEL

The Joy of Revision: To See Again

Alyce Miller

9/11

6–10 p.m.

Finding Your Memoir Voice

Emily Rich and Desirée Magney

9/12–10/31

10:30 a.m.–1 p.m.

Moment by Moment: Micro Memoir

Laura Oliver

9/22

1–3:30 p.m.

ALL

Narrative Nonfiction I

Gina Hagler

9/24–10/29

7–9:30 p.m.

B/I

Mastering the Personal Essay

Alyce Miller

10/1–10/15

6:30–9 p.m.

How to Pitch Personal Essays to Magazines and Literary Journals

Christine Koubek

10/4

7–9:30 p.m.

B/I

Workshop & Event Guide Fall 2018

NONFICTION (CONTINUED)

LEADER

DATES

DAY

TIME

LEVEL

Reading and Writing Women’s Lives

Sara Mansfield Taber

10/9–12/11

1–3:30 p.m.

ALL

Advanced Personal Essay

William O’Sullivan

10/13–12/8

10 a.m.–12:30 p.m.

Elements of Memoir

Marilyn W. Smith

10/22–10/26

M-F

2–4 p.m.

B/I

Life Stories Intensive

Lynn Auld Schwartz

11/3

9:30 a.m.–12:30 p.m.

B/I

Narrative Nonfiction II

Gina Hagler

11/12–12/17

7–9:30 p.m.

The Joy of Revision (Creative Nonfiction)

Alyce Miller

11/17

9:30 a.m.–3:30 p.m.

I/A

Writing Through – and from – the Holidays

Beth Kanter

11/29–12/13

10:30 a.m.–1 p.m.

ALL

POETRY (PAGES 22–23)

LEADER

DATES

DAY

TIME

LEVEL

Sonnet Crash Course

Claudia Gary

9/15

10 a.m.–1 p.m.

ALL

Poetry as Experience

Judith Harris, Ph.D.

9/15–10/6

10:30 a.m.–1 p.m.

ALL

The Art of Gratitude: Reading and Writing Poems

Rose Strode

9/17–11/5

7:30–9:30 p.m.

ALL

Villanelle Crash Course

Claudia Gary

9/22

10 a.m.–1 p.m.

ALL

Read, Write & Workshop

Melanie Figg

10/4–11/8

7–9:30 p.m.

I/A

Revision: Finding Method in Madness

Sara Burnett

10/11–11/1

7–9 p.m.

The Personal Poem*

Judith Harris, Ph.D.

10/13–11/17

10:30 a.m.–1 p.m.

ALL

Revisiting Rhyme

Sue Ellen Thompson

10/20

1–4 p.m.

ALL

Meter Crash Course

Claudia Gary

10/27

10 a.m.–1 p.m.

ALL

The Mystery of Line Breaks

Sue Ellen Thompson

11/17

1–4 p.m.

ALL

Preparing Your Poems for Publication

Jacqueline Jules

11/27–12/11

1–2:30 p.m.

B/I

Beads on a String: Organizing a Poetry Manuscript

Sue Ellen Thompson

12/8

1–4 p.m.

ALL

PROFESSIONAL WRITING AND PUBLISHING (PAGES 23–24)

LEADER

DATES

DAY

TIME

LEVEL

Feature Writing

Bijan C. Bayne

9/13–10/18

6:30–8 p.m.

The Fundamentals of Persuasive Writing

James Alexander

9/13–10/18

7–9:30 p.m.

Writing the Dreaded Query Letter

Alan Orloff

9/15

2–4:30 p.m.

ALL

Idea to Pitch

Gina Hagler

9/27–11/1

7–9:30 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

FALL WORKSHOP SCHEDULE

SUMMER WORKSHOP SCHEDULE

The Writer’s Center

SCHEDULE

PROFESSIONAL WRITING AND PUBLISHING (PAGES 23–24)

LEADER

DATES

DAY

TIME

LEVEL

How to Write a Business Book

Rob Jolles

10/1–10/22

6–8 p.m.

ALL

Speaking About Your Book!

Rob Jolles

10/13

9 a.m.–4 p.m.

ALL

Publishing 101

Aaron Hamburger

10/30

7–9 p.m.

ALL

How to Write a Book Proposal

Gina Hagler

11/15–12/20

7–9:30 p.m.

ALL

Write Like the News

Hank Wallace

12/5

7–9 p.m.

ALL

How to Publish Now

Neal Gillen

12/8

9:30 a.m.–12:30 p.m.

ALL

STAGE AND SCREEN (PAGE 24)

LEADER

DATES

DAY

TIME

LEVEL

Writing Characters for the Stage

Richard Washer

9/12

7:30–10 p.m.

B/I

Writing Dialogue

Richard Washer

9/15

10 a.m.–1 p.m.

Writing For TV & Film

Khris Baxter

9/29

10 a.m.–4 p.m.

ALL

Writing For TV & Film

Khris Baxter

11/10

10 a.m.–4 p.m.

ALL

TEEN WORKSHOPS (PAGE 24)

LEADER

DATES

DAY

TIME

LEVEL

Writing the College Essay

Jennifer Buxton

10/13–10/27

2–4 p.m.

ALL

ONLINE

LEADER

DATES

LEVEL

Journaling through Visual Poetry

Marianne Murphy

9/10–10/29

ALL

Plotting Your Novel

T. Greenwood

9/7–9/28

ALL

Introduction to the Picture Book

Mathangi Subramanian

9/17–10/8

ALL

Writing Trauma Narratives

Shanon Lee

9/17–10/22

ALL

Writing Creative Nonfiction

Christopher Linforth

9/24–11/12

ALL

Found Poetry

Katherine McCord

10/1–11/5

ALL

Creating Novel Characters

T. Greenwood

10/5–10/26

ALL

The Principle of Yearning in Narrative

Spencer Wise

10/15–12/3

ALL

Workshop & Event Guide Fall 2018

WORKSHOPS For THE MOST UP-TO-DATE INFORMATION & class descriptions, please visit WWW.writer.org a start-up exercise to help get them started on a possibly longer work.

 Introduction to the Mathangi Subramanian

2 Tuesdays 7:30–9:30 p.m. Bethesda Beginner

10/9–10/16 $80

2 Mondays 7:30–9:30 p.m. Bethesda Beginner

12/10–12/17 $80

Picture Book

Are you a storyteller able to keep kids entertained for hours? Are you an artist who wants to find a way to put words to pictures? Then this course is for you! Explore the art of writing picture books that are fun and entertaining for both adults and children. Participants will leave with at least two manuscripts-in-progress, along with plenty of ideas for more stories. 4 Weeks Online

N/A All Levels

9/17–10/8 $195

Picture Books II: Revision Learn to deeply revise and polish your picture book manuscript before submitting to an agent or publisher. A widely published author and an acclaimed illustrator 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 two double-spaced copies of a picture-book manuscript that you’ve carefully revised. Workshop may most benefit those who have taken Mary Quattlebaum’s “Writing Picture Books,” but all writers ready for revision are welcome. 6:30–9:30 p.m. 11/1 Intermediate/Advanced $50

Mary Quattlebaum Learn how to write a picture book from a successful author of more than two dozen award-winning books for children. Each session will begin with a short discussion of an aspect of writing for children, including story openings and arcs, characterization, plot/pacing, rhythm/sound, and marketing. Suggested readings, prompts, and feedback will inspire and guide writers in the class. By the end of the workshop, participants should have written and/or revised part or all of a picture book and have a better sense of how to create one in the future. If you want feedback, feel free to bring work to the first class (typed and double-spaced and with 16 copies). 7–9:30 p.m. All Levels

In this five-week class, we’ll explore the themes and conventions of sci-fi masters. We’ll compare this to what’s being written today and discuss what has changed. We’ll also do some writing of our own. Note: No meeting on November 20.

9/27–10/11 $135

Fiction Beginning Fantasy Fiction 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

7–9:30 p.m. 11/13–12/18 Beginner/Intermediate $225

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 limp, ordinary fiction into an extraordinary tale 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 through action, dialogue, setting details, and plot twists that make your work stand out from the crowd. Join us and leave with a handout chock full of ideas to apply to your stories. 10 a.m.–12:30 p.m. All Levels

9/22 $50

Contemporary Science Fiction Gina Hagler In this six-week class, participants will explore the themes and conventions of contemporary science fiction. The workshop will compare contemporary to classic sci-fi and discuss how and why things have changed. Participants will also do some writing of their own. 6 Tuesdays Bethesda

7–9:30 p.m. 9/25–10/30 Intermediate/Advanced $270

Creating Complex Characters Lynn Auld Schwartz What do your characters yearn for? Examine how a character’s wants and desires drive key elements of story, including narrative, dialogue, conflict, and plot. Short exercises and readings will illustrate ways to identify and depict a character’s passion, which is essential to creating a compelling person — someone with whom a reader wants to spend time. Come to strengthen what is memorable about the people who populate your tales, or come ready to create a new character whose story commands attention. This workshop is appropriate for those working on a novel, short story, or memoir. 1 Saturday Bethesda

9:30 a.m.–12:30 p.m. 10/20 Beginner/Intermediate $50

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

Creating Novel Characters

T. Greenwood When writing a novel, you must know your primary characters inside and out. You need to understand their desires, motivations, and frustrations, their histories and their futures. This workshop will focus on the development of authentic characters. Participants will examine character as both autonomous and residing within the context of the other novelistic elements, and the challenge of creating and integrating these various elements into a cohesive and credible whole. Participants will explore the main character(s) in their novels-in-progress. 4 Weeks Online

N/A All Levels

10/5–10/26 $195

Elements of Fiction: Dialogue Alan Orloff

Conflict & Tension

1 Saturday Bethesda

Writing Picture Books

3 Thursdays Bethesda

Gina Hagler

5 Tuesdays Bethesda

Mary Quattlebaum and Joan Waites

1 Thursday Bethesda

Classic Sci-Fi



Having trouble getting your dialogue to sparkle? In this workshop, you will see that writing realistic-sounding dialogue has little to do with how people actually speak. You’ll learn how to use dialogue to advance the plot and reveal character, and we’ll cover the effective use of tags, oblique dialogue, and subtext. In addition, we’ll discuss how to incorporate actions within conversations to make written scenes spring to life. Don’t let one of the most important building blocks of fiction fall flat! 1 Saturday 10 a.m.–12:30 p.m. Bethesda Beginner

9/22 $50

The Extreme Novelist Kathryn Johnson Can’t find the time/energy/inspiration to get your novel written? This popular course, developed by the author of the book by the same name, will help you complete a rough draft in just eight weeks. Participants receive the encouraging guidance of professional writing coach Kathryn Johnson. Each author will commit to an aggressive writing schedule and learn the tricks pros use to create a productive working environment and meet their deadlines, despite life’s distractions. Classes will include troubleshooting discussions, a brief lecture and handouts from the instructor, in-class writing time, and the opportunity to submit portions of the work-in-progress to the instructor for individual feedback and guidance. (Note: This is not a work-shopping course. Further information will be sent to registered participants in advance of the first class.) 8 Wednesdays Bethesda

7–9:30 p.m. 9/12–10/31 Intermediate/Advanced $360

Fantastic Fiction Fix-Its: Manuscript Revision Kathryn Johnson Revision is a dirty word to some writers. But you needn’t fear the challenges of polishing a manuscript before submission and publication. This fast-paced, half-day class focuses on the ten most common mistakes and concerns, often overlooked by authors before they send their story out into the world. Everything you do to your manuscript

workshops

Adults Write for Children

WORKSHOPS after the first draft is what makes the difference between a ho-hum story and a tale that lingers in readers’ minds. Join us for a painless look at the major revision issues for fiction.

The Novel Year Susan Coll Working with a published novelist, ten participants will experience the rigor and structure of an M.F.A. program as they workshop an entire novel-in-progress. Other benefits include: • Consistent writing deadlines, studying aspects of craft, and being part of a supportive communityPanels and Q&As with experts in the industry, including a literary agent and visiting writers • Free access to the Studio at The Writer’s Center during the full year (valued at $1,000)

workshops

• Free admission to literary events at the Center • Participating in a public reading at The Writer’s Center This intensive workshop is geared toward writers with either a draft of a novel ready for revision, or a novel substantially under way (approximately 75 pages already written). Each participant will have the opportunity to present 300 pages for critique. These can be continuous pages or revisions. Class will meet every other Wednesday from Sept. 12 – December 19, 2018, and again from January 9 – June 26, 2019, from 7 p.m. to 9:30 p.m., for a total of 21 sessions, including a holiday dinner at the instructor’s home. In the spring, a public reading of work will take place at The Writer’s Center. Although the class is primarily a workshop format, there will be discussions of craft and occasional exercises geared toward helping participants think more deeply about their own projects. These will include discussions of character, dialogue, point of view, plot, setting, and a variety of other subjects of concern to novel writing. In the spring, the focus will turn to publishing, including writing a successful query letter and synopsis. Occasional guest speakers will include published writers, a literary agent, and others involved in the publishing industry. To apply, please submit a cover letter and the first 20 pages of the project to laura. spencer@writer.org. Wednesdays Bethesda

7–9:30 p.m. All Levels

9/12–6/26 $5,000

1 Saturday Bethesda

10 a.m.–12:30 p.m. All Levels

9/15 $50

First Pages Facing a blank page can be one of the hardest things about writing. But the beginning of your story or novel will often determine whether a reader keeps reading. Bring your first page to this workshop, or come to learn from scratch. We will look at techniques for starting stories, and read examples of beginnings from published authors as well as each other’s work. 10 a.m.–1 p.m. All Levels

12/1 $50

From Novice to Novelist

2 Saturdays Bethesda

10 a.m.–1 p.m. All Levels

11/3–11/10 $115

How to Get Your Short Story Published

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 the session 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 10 a.m.–5 p.m. Bethesda Beginner

10/13 $115

1 Saturday Capitol Hill

11/10 $135

10 a.m.–5 p.m. Beginner

The Ghost Story Workshop

1 Saturday Bethesda

10 a.m.–12 p.m. Intermediate/ Advanced

11/10 $50

Kathryn Johnson You have a great idea for a story. Do you dive in and just begin writing, or start by drafting an outline? Are you a born planner or a writer who loves to discover stories organically (i.e., a pantser)? Understanding how to structure a well-conceived story around a main character and central conflict, while paying attention to pacing, can make the difference between a finished, publishable manuscript and an abandoned work-in-progress. Plotting provides a safety net that never robs the author of the joy of writing, and always reduces revision time. Think you can’t plot? Join us for this three-session course, and we’ll show you how! 3 Wednesdays Bethesda

7–9:30 p.m. All Levels

11/28–12/12 $135

How to Write a Novel

Nicole Miller Many great authors from Mary Shelley to F. Scott Fitzgerald have tried their hand at ghost stories, while some Edgar Allen Poe, Sheridan Le Fanu, M.R. James, and Stephen King have made this niche their empire. A number of minor lights including E.F. Benson, Rosemary Timperley, and Robert Aickman have written classic tales in their own right. In this workshop, participants will trace the tradition of the ghost story: its gothic, psychological, supernatural, technological, and weird genesis. The focus will be the twentieth and twenty-first century versions of the ghost story. Participants will read and discuss the eerie short fiction of several authors including Muriel Spark, Angela Carter, William Trevor, and Annie Proulx and do exercises to enhance their own ventures into this genre. The workshop leader will furnish suggestions for further reading as well as a list of magazines which welcome ghost story submissions at the end. 11 a.m.–4 p.m. All Levels

Learn the ins and outs of publishing stories in literary journals! Drawing from years of personal experience and the advice of numerous writers and editors, this workshop covers ten publication tactics, from choosing the right journals to making industry connections, and will leave plenty of time for Q&A at the end. Workshop participants will leave with a better understanding of the expectations and realities of the business of literary journals, as well as a set of tools to better their chances for publication.

How to Plot Like a Pro

John DeDakis

1 Saturday Capitol Hill

development and story structure to produce a series of thematically-linked short fiction. In-class prompts, revision, and critiques will focus this six-hour, two-part class.

Zach Powers

Victoria Kelly

1 Saturday Bethesda

The Writer’s Center

10/27 $115

The Gift Of Short Stories Caroline Bock Spend two Saturdays working on stories with holiday themes. Participants will work intensively on character

John DeDakis This workshop offers 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 the nub of an idea into a book-length project, populated with interesting characters, a twistyturny plot, snappy dialogue, and an interesting setting. Participants will also look at strategies for finding an agent and marketing the finished product. 1 Wednesday Bethesda

10:30 a.m.–12:30 p.m. All Levels

10/10 $50

1 Wednesday Capitol Hill

10:30 a.m.–12:30 p.m. All Levels

11/7 $65

How to Write a Plot Synopsis Kathryn Johnson Sooner or later, you will need to write a plot synopsis of your story. Synopses help the author stay confident and on track while writing, but still allow for creative change. They also are an essential tool for marketing your story—whether it’s short fiction (short story/novella) or book-length (novel). Learn how to encapsulate your plot for your own use and as a showcase for your story when you submit to

Workshop & Event Guide Fall 2018

WORKSHOPS

1 Saturday Bethesda

10 a.m.–12:30 p.m. All Levels

11/17 $50

Master Fiction Workshop: The Final Send-off Alyce Miller This special workshop is designed specifically for advanced writers, interested in publishing or taking their work to the next step, who would like to share revised work that could benefit from “fresh eyes” and feedback before sending it off or sharing with others. You will receive an email from the workshop leader a few days before the class with more information. 1 Saturday 10 a.m.–4 p.m. Bethesda Master

12/1 $115

Novel Openings Nicole Miller “Begin at the beginning,” the King said, very gravely, “and go on till you come to the end: then stop.” In the fictional world of Alice in Wonderland, beginnings are magically easy. In real life, for writers writing a novel, often they are not. 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. Participants will have a chance to present their current beginning, while learning about the elements which could be enhanced or elided-from atmosphere and setting to dramatic foretelling and backstory. First lines and the first page will receive special scrutiny, while participants will walk away from the workshop with a revision approach which will extend to the first 20-40 pages, at least. 1 Saturday Capitol Hill

11 a.m.–4 p.m. All Levels

9/29 $115

Hildie Block November is National Novel Writing Month www.nanowrimo.org when 10s of thousands of writers write 50,000 word novels in 30 days! Sound like fun? IT IS! You can’t start writing until November 1, but you can plan your novel before then, and do character sketches. This workshop will focus on you laying the ground work so you can “win” and finish by November 30! Class meets three times -- on 9/29, 10/13 and 10/27.



10 a.m.–1 p.m. All Levels

4 Weeks Online

9/29–10/27 $195

Plotting Your Novel

T. Greenwood 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

N/A All Levels

9/7–9/28 $195

 The Principle of Yearning in Narrative Spencer Wise This workshop will concentrate on developing believable characters who have complex emotions, objectives, desires, and yearnings. The class will study how characters seek to define themselves, consciously or subconsciously, through choices and actions embedded in sense-driven details. Participants will look at how they can force our characters into making these qualitative decisions and how those elements standing in their way generate the essence of narrative structure. Participants will come together as readers and writers dedicated to creating a kind, patient, honest, sensitive, and constructive community. The course begins with participants completing individual writing prompts (informed by weekly readings) that develop a specific element of craft - dialogue, setting, etc. These prompts will guide participants toward writing a short story of their own which will be critiqued. Participants will come away with understanding the concept of “yearning” within fiction and how to develop a voice that speaks to readers. 8 Weeks Online

N/A All Levels

10/15–12/3 $360

Kathryn Johnson Scenes are the building blocks of fiction. They convey the vision of the story in the author’s head to the minds of readers miles away. A well-written scene is the story teller’s little miracle tool—transporting readers to other worlds, into the lives of characters, and creating a reality all their own. Learn how to build vivid, active, compelling scenes and you’ll have captured an audience for life. This is a half-day course useful to novice writers as a place to begin thinking about their stories. But more experienced authors, who wish to refresh their fiction skills, will find the session helps them take their writing to the next level. 10 a.m.–12:30 p.m. All Levels

10/20 $50

Strong Beginnings Lynn Auld Schwartz Where should your story open? In the middle? With a bit of dialogue? A character in action? Do your beginning pages introduce conflict? Do they establish point of view, setting, and expectation? Let’s explore the components of a strong start, one that is not gimmicky, but an integral part of the narrative — capturing the reader from the first page. 1 Saturday Bethesda

9:30 a.m.–12:30 p.m. 9/29 Beginner/Intermediate $50

Taming the Beast - How to Organize Your Novel Jennifer Handford Let’s take that shoebox of writing and organize it into a solid novel. Writing is a right-brain activity that requires your

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

creativity, but it also involves your left-brain organization to put it all together. Using topics such as character development, plot, backstory, theme, research, and dialogue, each week will be a lesson dedicated to the craft but also a tutorial rich with techniques to map out your novel. Outlines, graphs, and timetables are a few tools we’ll employ. Each week we’ll put your characters in “trouble” because trouble is interesting, and oftentimes messy, but the structure of your novel must be anything but messy. Organizing the chaos is a learned skill. All exercises will be related to the participant’s novel in progress. At the end of the session, participants will have polished a significant piece of their project. Please bring your printed work, a notebook, or laptop to class. 8 Tuesdays Bethesda

7–9:30 p.m. All Levels

10/2–11/20 $360

Whodunnit? Writing the Mystery Novel Alan Orloff If you’ve always wanted to write a mystery novel but didn’t know where to start, this workshop is for you. We’ll discuss writing fundamentals as they apply to the mystery. We’ll examine characteristics of the many subgenres (thrillers, too!) and learn about mystery-specific conventions and pitfalls such as TSTL syndrome, macguffins, red herrings, killer twists, wacky sidekicks, and smooth clue-dropping, among others. Fun, educational, and… mysterious! 1 Saturday Bethesda

Scene Building

1 Saturday Bethesda

NaNoWriMo Prep

3 Saturdays Bethesda

novels. Required texts: Hooked by Les Edgerton and Plot and Structure by James Scott Bell.

10 a.m.–12:30 p.m. All Levels

9/15 $50

Write Tight! Alan Orloff In this workshop for beginning fiction writers, you’ll learn how to excise excess prose to streamline your work. Improve clarity, pacing, and readability using fewer words! We’ll cover concepts like: show, don’t tell; in late, out early; in media res; redundancy; pesky adverbs; purple prose; and much, much more. Say goodbye to bloated manuscripts! 1 Saturday 2–4:30 p.m. Bethesda Beginner

9/22 $50

Writing the Cozy Mystery Kathryn Johnson Of all the types of stories within the Mystery genre, the “cozy” may be the most widely and voraciously read. Cozy Mysteries are traditional puzzle stories—modeled, in part, after Agatha Christie’s work. Cozies have their own internationally attended conference every year, right in Bethesda (Malice Domestic). Their fans are intelligent and love problem-solving stories that usually revolve around a murder in a community, where most everyone knows everyone else. (Think: Murder, She Wrote.) No blood, gore, or sex allowed in these stories. Good always wins over evil, and the amateur sleuth always catches the killer. Learn the basics of how to write these megapopular stories and novels that almost always appear in series. 1 Saturday Bethesda

10 a.m.–12:30 p.m. All Levels

10/27 $50

workshops

a literary agent or publisher. The instructor has sold dozens of novels to major publishers armed with only a killer synopsis and writing samples.

WORKSHOPS Your First (or Next) Novel

Getting Started: Creative Writing

Kathryn Johnson

Patricia Gray

Writing a novel takes commitment, but it doesn’t need to be daunting. Learn how to generate a handful of plots from which to choose, methods for effectively planning your story, and simple hacks for fine tuning your basic fiction skills. Participants will initiate a flexible writing plan that will keep their writing flowing. This is a great half-day session for the beginning long-form fiction writer, or for the more experienced author in need of a quick strategy brush-up.

Before the holiday madness sets in, why not take a personal breather? In just two Saturday afternoons, you can explore several forms of creative writing. By jump-starting with fun exercises, this workshop will circumvent the analytic brain and give imagination a chance to thrive. You will receive tips on how to free up memories and experiences and use them as inspiration for memoir, fiction, poems, creative nonfiction, or journal-writing. Hallmarks of the workshop include in-class assignments, opportunities to read your writing—or not, as you choose—and receive positive, helpful feedback that will point the way toward your writing talents. Please bring digital or print writing implements to the first workshop meeting.

1 Saturday Bethesda

10 a.m.–12:30 p.m. All Levels

11/3 $50

Mixed Genre

2 Saturdays Capitol Hill

Boot Camp for Writers Beth Kanter

workshops

This course is for individuals who want to tone up their writing muscles so they can go the distance. Classes begin with a short warm up exercise followed by a prompt for a longer piece. Participants will then focus on specifics like effective beginnings, creative prose, and strong conclusions. Participants will also learn how to avoid common grammatical and usage errors that can distract from their message. This workshop will focus on both craft and technique and is designed for participants of all backgrounds who are looking to take their writing endurance and skills to the next level. Participants will have the start of several narrative pieces by the end of the class. Note: No meeting on November 21. 8 Wednesdays Bethesda

10:30 a.m.–1 p.m. All Levels

10/10–12/5 $360

Developing Craft in Fiction and Personal Essay Alyce Miller The best way to hone your writing is to read, read, read. In this one-day session, we will focus on discussing specific readings (I will send you in advance) through the lens of craft elements to see how other writers manage point of view, time, place, character, dialog, imagery, repetition, conflict, etc. There will be short, timed writing exercises to accompany our discussions. 1 Saturday Bethesda

10 a.m.–2 p.m. All Levels

12/8 $80

11/10–11/17 $135

In this eight-week workshop, beginning writers will have the chance to explore three different genres: memoir writing, short fiction, and poetry. Each week participants will be given a writing assignment and several readings, to be followed by a critique of each participants assignment. During our 8-weeks, participants will learn about voice, point of view, dialogue, description, imagery, and sound. By the end of this workshop, participants will have written one personal memoir, one short story, and three original poems, and have developed a greater understanding of their own writing interests. Note: No meeting November 20. 10/23–12/18 $360

4 Wednesdays 6:30–8:30 p.m. Bethesda Intermediate

Alyce Miller Ever wondered about the most important decision a writer makes: point of view? Is it more than just “I,” “you,” and “s/he”? Yes, indeed. I will send you three readings on POV before the class, as well as readings in fiction and CNF, and an exercise on POV. Please bring to class copies of the readings, as well as the completed exercise (please bring copies for everyone of your exercise).

Nancy Naomi Carlson

Resolve to Write

If you have always wanted to write but haven’t known how to begin, this is the workshop for you! Participants will explore fiction, poetry (including prose poems), and memoir in order to “jump start” your writing. Exercises started in class will generate ideas to take back home. Goals: loosening up, putting words on the page, and having fun in the process. 1 Saturday 12–5 p.m. Bethesda Beginner

9/22 $100

How to Write A Lot Kathryn Johnson 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. (Ideal for writers who don’t have 8 weeks to dedicate to the Extreme Novelist course.) 1 Wednesday Bethesda

7–9:30 p.m. All Levels

11/14 $50

10:30 a.m.–1 p.m. All Levels

9:30 a.m.–2:30 p.m. 11/3 Intermediate/Advanced $100

Patricia Gray Want to write more in 2019? Join us for two discussion sessions setting the resolution to write. Participants will discuss what they want to write about, gain the support of the other workshoppers, and learn how to keep on target in the New Year. 1 Thurs/Sat Capitol Hill

1–3 p.m. All Levels

12/13–12/15 $100

Small Mutinies: Flash Fiction/Prose Poem Alyce Miller Simply put, flash fiction and prose poems are “tons of fun,” both to read and to write, but these gems require the writer’s close attention to all the elements of writing to succeed. The workshop leader will email you a few days before the class with more information. 1 Saturday Bethesda

10 a.m.–2 p.m. All Levels

9/1 $80

Writing as a Path to Healing Laura Di Franco, MPT

This writing workshop is focused on understanding plot and inciting events. In addition to talking about elements of fiction and memoir, participants will also workshop peer pieces as well as reading stories from the text. Feel free to bring bag lunch. Textbook 2018 Best American Short Stories (ed Roxane Gay). 8 Wednesdays Bethesda

9/12–10/3 $195

Point of View

1 Saturday Bethesda

Hildie Block

Elizabeth Rees

different work of art each week, uncovering personal connections to the piece and responding in poetry or prose. Enrich your craft through the art of close observation, and come away with four new works.

Getting Started: Creative Writing Intensive

Inciting Events

Getting Started: Creative Writing

8 Tuesdays 7–9:30 p.m. Bethesda Beginner

1–4 p.m. Beginner

The Writer’s Center

9/26–11/14 $360

Let’s Get Ekphrastic: Four Weeks, Four Artworks Tara Campbell Let’s get ekphrastic! Reinvigorate your writing using art as your muse. Participants will engage in visual analysis of a

What if there’s something you haven’t learned yet that could change everything? 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 guided awareness, breath work and therapeutic writing exercises that connect them with their soul; the place where you want your writing to come from. By the end of this six-week course participants will enjoy an enhanced level of awareness that’ll inspire their creative endeavors, make their writing come alive and create a path toward healing they may have not known was possible. 6 Tuesdays Bethesda

Workshop & Event Guide Fall 2018

6:30–8:30 p.m. All Levels

10/2–11/6 $270

WORKSHOPS The Joy of Revision Alyce Miller

Advanced Personal Essay William O’Sullivan This workshop is for writers who have a good understanding of what a personal essay is, are open to exploring further the many forms a personal essay can take, and are already working seriously in the genre. The focus will be participants’ writing, supplemented with assigned readings. Participants will workshop two essays (or drafts of the same essay, if they prefer). The class is designed for self-contained essays, not book-length memoirs. To be considered for admission, please submit an essay or excerpt of no more than five double-spaced pages to laura.spencer@ writer.org by October 5. Note: No meeting November 24. 8 Saturdays 10 a.m.–12:30 p.m. Bethesda Advanced

10/13–12/8 $360

Elements of Memoir Marilyn W. Smith This week-long class will introduce writers to key elements of stories and memoir. Beginner and intermediate writers will explore character development, dialogue, senses, scenes, and the narrative arc as essential components of story. Class is conducted through highly interactive exercises and discussions. By the end of the week, participants will draft and share a 3-4 page memoir. 1 Monday-Friday 2–4 p.m. 10/22–10/26 Bethesda Beginner/Intermediate $195

Finding Your Memoir Voice Emily Rich and Desirée Magney 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. The class 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. 8 Wednesdays 10:30 a.m.–1 p.m. Bethesda Intermediate

9/12–10/31 $360

How to Pitch Personal Essays to Magazines and Literary Journals 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 the session, you’ll have a list of resources for moving forward and a template to guide your submissions. 1 Thursday Bethesda

published examples and exercises, you will leave inspired to write your memoir and having found a way you can.

7–9:30 p.m. 10/4 Beginner/Intermediate $50

This class is designed for personal essayists (memoirists, too) who want to fine-tune work they’ve already revised at least once, but now really want to polish. The workshop leader will email you a few days before the class with more information about what to bring and links to a couple of advance readings. 1 Saturday Bethesda

9:30 a.m.–3:30 p.m. 11/17 Intermediate/Advanced $115

The Joy of Revision: To See Again Alyce Miller Are you feeling ready to send off a piece of CNF, memoir, or personal essay to literal journals and magazines, but want to give a final polishing? Whether you’ve already published or not, this workshop will afford you the chance “to see again,” along with advice about submitting. The workshop leader will email you a few days before the class with more information. 1 Tuesday 6–10 p.m. Bethesda Advanced

9/11 $50

Lynn Auld Schwartz Whether you want to write a memoir, blog, college essay, letter to your granddaughter, or use your own life as the basis for fiction, life story writing requires that we tell where we come from and who we are. Learn to identify your story’s essence and to engage the reader through fictional techniques. Participants will leave inspired to begin or improve a work-in-progress. 9:30 a.m.–12:30 p.m. 11/3 Beginner/Intermediate $50

Mastering the Personal Essay This course is specially designed for those of you who are ready to take your essay writing to the next level of mastery. Perhaps you have publication in mind? This is a rare opportunity for those ready to revise and polish their work to publishable standards. I will email you a few days before the class with more information. If you register late or have not received my email within 3 days of the class, please contact me directly for that information: milleralyce@outlook.com 10/1–10/15 $135

Moment by Moment: Micro Memoir Laura Oliver In Micro, anecdotes of under 500 words tell a life story one moment at a time. The skill is to choose ground worth reporting on and to learn how to tease out why the memory matters, so it delivers an emotional charge and creates a universal connection. We capture relationships, places where our lives expanded or contracted, places where our trajectories changed by zeroing in on memories that hold tension, mystery and contradiction. We use the same tools with which we craft fiction, making micro an excellent learning template for both genres. Through a discussion of

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

9/22 $50

Narrative Nonfiction I Gina Hagler Narrative Nonfiction uses the facts to write the story. It’s the sort of story you see that is a feature in a periodical or newspaper. In this six-week class you’ll learn about the craft behind this type of writing, read some samples, and try it for yourself. 6 Mondays Bethesda

7–9:30 p.m. 9/24–10/29 Beginner/Intermediate $270

Narrative Nonfiction II Gina Hagler Narrative Nonfiction uses the facts to write the story. In this five-week class you’ll work on your own piece of narrative nonfiction, using the work of respected authors to examine the way they handle openings, transitions, and more. Note: No meeting November 19. 11/12–12/17 $225

Reading and Writing Women’s Lives Sara Mansfield Taber In this workshop participants will read and discuss memoirs, stories, essays, letters, and poetry written by women about their lives as girls and mature women. Mining these readings for perspectives on what it means to be a woman, the class will sample a variety of approaches to writing. Each session will include conversation, discussion of craft, and a writing prompt. The short readings will include such authors as Robinson, Pinkola Estes, and Faludi. Note: No meeting on November 6 and 20. 8 Tuesdays Bethesda

Alyce Miller

3 Mondays 6:30–9 p.m. Bethesda Master

1–3:30 p.m. All Levels

5 Mondays 7–9:30 p.m. Bethesda Advanced

Life Stories Intensive

1 Saturday Bethesda

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1–3:30 p.m. All Levels

10/9–12/11 $360

Writing Creative Nonfiction

Christopher Linforth This online workshop will have participants read and write in several sub-genres of creative nonfiction, including memoir, essay, literary journalism, and the epistolary form. The class focuses on generating new material, offering feedback to peers, revising pieces, and finally researching markets for the placement of work. 8 Weeks Online

N/A All Levels

9/24–11/12 $360

Writing Through – and from – the Holidays Beth Kanter The stretch between Thanksgiving and New Year’s Day can be the most wonderful time of the year for writers. Stories hide everywhere be it in fraught family dinners, rejected traditions, failed gift swaps, quiet conversations while the kids sleep in the backseat, heirloom gravy boats, or alone in the glow of It’s A Wonderful Life. Together we will use this workshop as a time to write through the holidays (any and all holidays including ones that you don’t observe) us-

workshops

Nonfiction

WORKSHOPS ing them as a way to mine our own experiences to create engaging narratives on paper. We will begin each class by reading a piece inspired by this story-rich time of year and then get started on our pieces. Participants will have the start of several narrative pieces by the end of this short but productive class.

to leave out, and the importance of choosing a first and last poem for the collection.

3 Thursdays Bethesda

Katherine McCord

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10:30 a.m.–1 p.m. All Levels

11/29–12/13 $135

Writing Trauma Narratives

Shanon Lee

workshops

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 online workshop, participants will explore the creative nonfiction of trauma survivors. Each week, participants 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

9/17–10/22 $270

Poetry The Art of Gratitude: Reading and Writing Poems Rose Strode Gratitude is complicated. Poems that examine gratitude reveal our human relationships: they may thankfully celebrate sharing, or struggle with indebtedness. Instructor Rose Strode will guide discussions of poems that reveal gratitude’s complex, paradoxical nature. Participants will explore work by Ross Gay, Jane Kenyon, Pablo Neruda, Mary Oliver, Cornelius Eady, Craig Santos Perez, and Jane Hirshfield, to learn each author’s experience of gratitude, as well as the tools of craft used to convey the world of the poem. Writing prompts inspired by the readings help participants to fully examine the way both gratitude and poetry reveal our human connection to the world. All lovers of poetry are welcome. 8 Mondays Bethesda

7:30–9:30 p.m. All Levels

9/17–11/5 $270

Beads on a String: Organizing a Poetry Manuscript Sue Ellen Thompson Poets who are putting together their first chapbook or fulllength book often agonize over what they can do to make their manuscript “hang together” and grab the attention of an editor or contest judge. But there is no one approach to arranging a sequence of poems that is inherently superior. Instead, it has more to do with gaining some perspective on your own work and identifying the themes, images, and impulses that certain poems share. In this workshop, participants will take a look at some of the advice that established poets and publishers have given. The class will cover such issues as how to come up with a title, the wisdom of using section dividers, deciding which poems

1 Saturday Bethesda

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1–4 p.m. All Levels

12/8 $50

Found Poetry

Explore and create Found Poems! Participants in this workshop will explore and complete different kinds of Found Poetry, such as Centos, Blackout, etc., and, alongside, explore elements of craft, such as concreteness and lineation. The instructor will offer a lecture at the beginning of each week dealing with an element of craft that will inform the creation of that week’s work, while there will also be open discussions among participants during the week. By the end of the workshop, participants will have written five poems and have an understanding of different kinds of Found Poetry, along with craft elements that parallel the Found Poems. 5 Weeks Online

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N/A All Levels

10/1–11/5 $225

Journaling through Visual Poetry

Marianne Murphy Capture your thoughts and memories through poems, visual art, and the space between. First, we will explore the work of visual poets and the sketchbooks of contemporary artists to expand our boundaries and find inspiration. We will then delve into poetic, artistic, and sensory exercises to navigate a variety of fun journaling prompts. By the end of the workshop, you will have a solid start on a journal that is completely unique to your own style and method of expression. No previous art or poetry experience required! 8 Weeks Online

N/A All Levels

9/10–10/29 $360

Meter Crash Course 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 includes reading and scanning well-known poems, writing exercises, and, if you like, close examination of a poem you’ve drafted prior to class. You’ll leave with new insights about improving the auditory qualities of all your poems and prose. 1 Saturday Bethesda

10 a.m.–1 p.m. All Levels

10/27 $50

The Mystery of Line Breaks Sue Ellen Thompson Many free verse poets write for years without really understanding how a line of poetry functions and where it should end. Should it be as long as a breath, or should it end wherever there is a comma, a period, or a break in the syntax? In this workshop, we will look at how modern poets have dealt with this issue and how their decisions can help us manage line breaks in our own poems. 1 Saturday Bethesda

1–4 p.m. All Levels

11/17 $50

The Writer’s Center The Personal Poem Judith Harris, Ph.D. This workshop will focus on how autobiography mediates and revivifies past events that surface in some perfected, universalized form. Through writing prompts, and minilectures on poetic craft and history of the genre, participants will learn how the very construction of the poem is a means to contain—and often transform—subjective material so that self-revelation can take place. 6 Saturdays Capitol Hill

10:30 a.m.–1 p.m. All Levels

10/13–11/17 $270

Poetry as Experience Judith Harris, Ph.D. Poetry is, in part, high emotion in language. Cultures throughout the world use poetry to share their histories, shape their stories, and express ideas in lyric form. In this workshop, participants will look at their inner language and life experiences to explore writing from personal and cultural memory. Through writing prompts and mini-lectures on craft, formal elements of poetry as well as the history of the poetry genre will be emphasized. This workshop is open to all – no previous poetry experience required. 4 Saturdays Bethesda

10:30 a.m.–1 p.m. All Levels

9/15–10/6 $195

Preparing Your Poems for Publication Jacqueline Jules Is your poem ready to meet the world? Or would a little feedback help you craft something more powerful? Revise your poems and learn submission tips with an award-winning poet whose work has appeared in over 100 journals and three chapbooks. Participants will bring poems to share in a safe environment designed to help each poet strengthen their work. Writing models and prompts will be provided for those wishing to jump start their creativity. 3 Tuesdays Bethesda

1–2:30 p.m. 11/27–12/11 Beginner/Intermediate $80

Read, Write & Workshop Melanie Figg Get ready to have fun and learn a lot. By close reading contemporary poems—by Danez Smith, Terrance Hayes, Paula Cisewski, Diane Suess, and others—participants will better understand how poems move, work, and make use of nifty skills (like line breaks, imagery, sound, or transitions). Each week, participants will use these poems to inspire new poems or guide their revisions. The instructor will facilitate positive class workshops that will offer poets helpful feedback and inspiring roads for revision. Participants will likely have two poems workshopped (depending on total enrollment). 6 Thursdays Bethesda

7–9:30 p.m. 10/4–11/8 Intermediate/Advanced $270

Revision: Finding Method in Madness Sara Burnett Revising a poem can often be messy, maddening, and humbling, but it can become the most enjoyable part of your writing process. In this class, participants will experiment with methods to revise poems and help find new life

Workshop & Event Guide Fall 2018

WORKSHOPS

4 Thursdays 7–9 p.m. Bethesda Advanced

10/11–11/1 $135

Revisiting Rhyme Sue Ellen Thompson Many poets writing today shy away from rhyme because they’re afraid it will make their poems sound trite or old-fashioned. In fact, knowing how to rhyme subtly and skillfully can achieve quite the opposite. In this workshop, participants will examine the many different rhyming strategies available. Discussing what distinguishes a “good” rhyme from a weak one will lead to some conclusions about what rhyme can add to a poem and how it can be used to make your poems both more memorable and more musical. 1 Saturday Bethesda

1–4 p.m. All Levels

10/20 $50

Sonnet Crash Course Claudia Gary Improve your sonnet skills, or write your very first one. With the help of a widely published author of sonnets, villanelles, and other poems, you will read 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. You’ll 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

10 a.m.–1 p.m. All Levels

9/15 $50

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 have started a draft of their feature.

writers will know how to prudently select a reliable publisher at a minimal cost with an understanding of profit and loss potential based on the publishing cost, royalties, book pricing, and book purchases without being scammed.

6 Thursdays Capitol Hill

Idea to Pitch

6:30–8 p.m. Beginner

9/13–10/18 $290

The Fundamentals of Persuasive Writing James Alexander Learn how to pack a powerful punch when writing persuasively! This six-week workshop teaches the processes involved in crafting newspaper op-eds and written speeches: Think. Plan. Write. Participants will learn the techniques of audience analysis, message development, targeted research, organization, using persuasive language, and effective use of social media in planning/strategizing. The workshop also covers how to apply persuasive writing principles to lower-profile writing products, such as memos, letters and emails. This class features hands-on writing, engaging discussions, a recommended reading list, and a blog for amplification. 6 Thursdays 7–9:30 p.m. Bethesda Beginner

9/13–10/18 $270

How to Write a Book Proposal Gina Hagler

How to Write a Business Book Rob Jolles Maybe you’ve toyed with the idea of writing a business book and sharing what you’ve learned with others around you. The fact is, anyone can write a book. The problem is, most people are stopped before they even start by the size of the project, and more importantly, the lack of a clear process. With the right information, the right process, and the right teacher, you can and will write your book. IThis workshop 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. What’s more, it WILL be fun!

10 a.m.–1 p.m. All Levels

9/22 $50

Professional Writing and Publishing Feature Writing Bijan C. Bayne This six-week course will teach aspiring magazine and newspaper freelancers how to construct an article, pitch

4 Mondays Bethesda

6–8 p.m. All Levels

10/1–10/22 $135

How to Publish Now Neal Gillen This three hour workshop will review the world of selfpublishing, examine and compare the leading Print on Demand (POD) publishers, reveal the costs and benefits to writers in the printing packages offered, and recommend how to select a publisher. Presented through Power Point, this workshop will show manuscript preparation and the costs of editing and proofing. By the end of the session,

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

7–9:30 p.m. All Levels

9/27–11/1 $270

Publishing 101 Aaron Hamburger Getting your fiction, non-fiction, and poetry out into the world can be a daunting and difficult business, whether you’re trying to land a book contract or get your work into the literary journal of your dreams. However, there are things you can do to increase your odds and make the process more efficient. This workshop will cover the basics of how to find appropriate venues for your work, how to think outside the box and increase possible markets for what you’re writing about, what a query letter looks like, whether you need an agent, and what you need an agent for. Come prepared to take notes and ask questions from an author who’s also worked in the publishing industry!

Rob Jolles

Claudia Gary

1 Saturday Bethesda

6 Thursdays Bethesda

5 Thursdays Bethesda

11/15–12/20 $225

12/8 $50

In this six-week workshop, participants will take an idea and turn it into a pitch for the market of your choice. Develop the idea, explore markets, identify the first choice, and hone a pitch letter.

1 Tuesday Bethesda

7–9:30 p.m. All Levels

9:30 a.m.–12:30 p.m. All Levels

Gina Hagler

In this five-week workshop, participants will take a look at each part of a successful book proposal. Participants will also write some parts of their proposal for group feedback. Note: No meeting on November 22.

Villanelle Crash Course Improve your villanelle skills, or write your very first one. With the help of a widely published author of villanelles, sonnets, and other poems, you’ll read 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

7–9 p.m. All Levels

10/30 $50

Speaking About Your Book! 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. How do you find speaking opportunities, and make every moment count to drive even more deliveries your way? This workshop 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! 1 Saturday Bethesda

9 a.m.–4 p.m. All Levels

10/13 $115

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 write around generic “he.” (Plus a Speak Like the News skill: avoid “uptalk?”) Emulate the vivid news examples

workshops

in static material. Each week, a few poets will share feedback they have received on writing and 1-2 related poems of theirs that have stumped or maddened them. Readings in class will serve to compliment the needs of the poets to help them find a method for revision as well as engender discussion.

WORKSHOPS 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. 1 Wednesday Bethesda

7–9 p.m. All Levels

12/5 $50

Writing the Dreaded Query Letter Alan Orloff

workshops

You’ve spent months (or years) of your life—not to mention copious amounts of blood, sweat, and tears—writing a dynamite novel. Don’t simply spend five minutes slapping together a weak query letter; you owe it to yourself to write a great one that will break through the slush-clutter at top literary agencies. In this workshop, you’ll learn how to entice your dream agent into reading your masterpiece by writing a tight query that really sings (while avoiding those pitfalls that will land your query in the trash). The instructor will also outline his “A-B-C” submission strategy while highlighting some valuable targeting resources. Bring four copies of a draft query and a red pen with lots of ink! Note: primarily intended for novel and memoir writers. 1 Saturday Bethesda

2–4:30 p.m. All Levels

9/15 $50

Stage and Screen

The Writer’s Center Writing For TV & Film

Writing Characters for the Stage

Khris Baxter

Characters set in motion a series of events and actions that become the engine of your play. In this workshop participants will look at strategies for exploring and developing characters in the early stages of writing and discuss ways to assess the potential of the characters to drive action in the story. In addition, participants will look at character through the eyes of actors and directors seeking to interpret and portray a character to see how this informs our process of building a play.

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. This workshop is open to all levels and genres.

1 Wednesday Bethesda

1 Saturday Glen Echo

10 a.m.–4 p.m. All Levels

9/29 $115

1 Saturday Glen Echo

10 a.m.–4 p.m. All Levels

11/10 $115

Richard Washer

7:30–10 p.m. 9/12 Beginner/Intermediate $50

Writing Dialogue Richard Washer Dialogue is the playwright’s primary tool for conveying a story that ultimately becomes a visual, aural, and emotional experience for an audience. In this workshop, participants will look at various functions of dialogue and discuss how actors, designers and directors use dialogue as a basis for transforming words on the page to life on stage. Although the focus in this session will be on playwriting, writers of all genres are welcome. 1 Saturday 10 a.m.–1 p.m. Bethesda Beginner

9/15 $50

Teen Workshops Writing the College Essay Jennifer Buxton Is the college application essay freaking you out? Let this class make it easy. Participants will talk about what makes a memorable essay and workshop everyone’s first draft. Don’t worry, you got this! 3 Saturdays Bethesda

2–4 p.m. All Levels

10/13–10/27 $115

Become a Member! As a member of our vibrant family of writers, you’ll receive a 13% discount on every class you take at The Writer’s Center, as well as special discounts on room rentals and access to our whole line-up of literary events. Plus, promote your book with exclusive advertising space in “Book Talk” in the The Writer’s Guide.

General Membership: $50 Household Membership: $75 To join, complete the registration form on page 39 or join online at writer.org.

Workshop & Event Guide Fall 2018

WORKSHOP 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. Bijan C. Bayne is an award-winning Washington-based freelance cultural critic and screenwriter. His work has appeared in The Washington Post, The New York Times, The Boston Herald, and Ohio magazine, among others. Bayne is the author of a biography of Elgin Baylor, which was named one of seven “Books That Inspire”, by “The Christian Science Monitor” in 2015. Caroline Bock’s debut short story collection, Carry Her Home, won the 2018 Fiction Award from the Washington Writers’ Publishing House and will be published on October 15, 2018 in trade paperback and in ebook formats. Hildie Block has been leading writing workshops in the DMV for over 20 years *(including at American and George Washington Universities). She’s published well over 50 short stories and her book Not What I Expecterd came out 2007. Sara Burnett is a poet, writer, curriculum developer, and educator. She is the author of the chapbook Mother Tongue (Dancing Girl Press 2018). Her poems have appeared in Barrow Street, The Cortland Review, Poet Lore, and elsewhere. She holds a M.F.A. from the University of Maryland and an M.A. in English Literature from the University of Vermont. 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 (www.taracampbell.com) 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, Strange Horizons, and Queen Mob’s Teahouse. Her debut novel, TreeVolution, was published in 2016, and her collection, Circe’s Bicycle, was released spring 2018. Nancy Naomi Carlson, poet, translator, editor, and essayist, has authored nine titles (6 translated). She has received grants from the NEA and Maryland Council for the Arts, and was a CLMP Firecracker Poetry Award finalist. Her work has appeared in the American Poetry Review, The Georgia Review, and Poetry. More about her at: www.nancynaomicarlson.com. Brenda W. Clough has been writing science fiction and fantasy since 1984. She has been a finalist for both the Hugo and the Nebula awards, and her latest book A Most Dangerous Womean is out from Serial Box. 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. Laura Di Franco, MPT is a holistic physical therapist, published author, teacher, poet, and black belt in Tae Kwon Do. She’s serious about integrating mind, body and soul as a journey to passion and power and it’s her mission to show you how. You can find her writing featured in places like The Huffington Post, MindBodyGreen, Best Self Magazine, The Wellness Universe, Wild Sister Magazine, PersonalGrowth.com, Tiny Buddha, and The Elephant Journal. Her new book, Brave Healing; a Guide for Your Journey, was released June 1st. Visit www.BraveHealer.com is where you can grab a free 30-minute call with her to learn how your story will heal the world. A 2017-2019 NEA Fellow, Melanie Figg’s collection, Trace, won the 2017 Many Voices Project competition from New Rivers Press (due October 2019). Her long poem, “Leaving a Trace” won the 2018 Iron Horse Literary Review Trifecta. A certified professional coach, Melanie offers retreats and works one-on-one with writers. More about her at: www.melaniefigg.net. Claudia Gary is author of Humor Me (David Robert Books, 2006) and chapbooks including Bikini Buyer’s Remorse. Internationally published and a three-time finalist for the Howard Nemerov Sonnet Award, she chaired the “Sonnet 2016” panel at

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

the West Chester University Poetry Conference. See pw.org/content/claudia_gary. Neal Gillen is the author of nine novels, two memoirs, and How To Publish Now, which reviews the essentials of Print on Demand (POD) publishing, including the dos and don’ts and the expensive pitfalls to avoid in its review of over 25 publishers. More about him at: www.nealpgillenbooks.com. Patricia Gray formerly headed the Library of Congress Poetry and Literature Center. A Bread Loaf Writer’s Conference alumna, her M.F.A. in Creative Writing is from the University of Virginia and her poetry collection Rupture is from Red Hen Press. She recently contributed two prose pieces to The Writer’s Center Blog. T. Greenwood is the author of twelve awardwinning novels including Rust & Stardust and Where I Lost Her. She teaches at San Diego Writers, Ink and The Writer’s Center. Gina Hagler is an award-winning nonfiction writer. Her publications include Discovering Quantum Mechanics (Scientist’s Guide to Physics), Modeling Ships and Space Craft: The Science and Art of Mastering the Oceans and Sky, and Sammi’s New Normal: Health Stories for Kids: Epilepsy, amongst several others. She has written about science, history, health, climate change, and technology for both children and adults. More about her at: ginahagler.com. Aaron Hamburger was awarded the Rome Prize by the American Academy of Arts and Letters for his story collection The View From Stalin’s Head (Random House). His novel Faith For Beginners (Random House), was nominated for a Lambda Literary Award. His writing has appeared in The New York Times, The Washington Post, and many others. A first-place finalist in the Amazon Breakthrough Novel Award contest, Jennifer Handford’s first novel Daughters For a Time was hailed by People Magazine as “a wrenching, resonant debut about infertility, cancer and adoption. Grab your hankies.” In 2014, Act of Contrition was published, and in 2015 The Light of Hidden Flowers was released. It was nominated for the Pulitzer Prize. Jennifer’s three novels have sold more than 250,000 copies. She has taught writing at American University, and is a frequent speaker at writing groups. Judith Harris is the author of three books of poetry, Night Garden, The Bad Secret, Atonement, and the acclaimed critical book, Signifying Pain: Constructing and Healing the Self Through Writing. Her poetry has appeared in The Nation, The Atlantic, The New Republic, Slate, The New York Times blog, Ploughshares, The Hudson Review, The Southern Review, and the syndicated column “American

LEADERS

James Alexander has more than 30 years experience writing professionally, including stints as a political speechwriter at the Cabinet level. After earning a B.A. in Journalism at the University of North Carolina at Chapel Hill, he worked as a bylined newspaper reporter at The Charlotte Observer and The Atlanta Journal-Constitution and also interned at The Washington Post. He later served on Capitol Hill as a U.S. Congressional Fellow and then worked as a Hill press secretary which involved writing lots of speeches and op-eds. As a ghostwriter, James penned dozens of op-eds for political figures with publications in The Wall Street Journal, The New York Times, USA Today and Washington Post, among others. He works full-time in media relations and still writes.

WORKSHOP LEADERS Life in Poetry,” among many other anthologies and journals. Her critical work and interviews have appeared widely. She is a recipient of a Yaddo fellowship and multiple arts grants and has taught at several universities in the D.C. area and has been a resident seminar leader at Frost Place and the University of North Iowa. Kathryn Johnson’s 40+ published novels (finalist for the Agatha Award, winner of Heart of Excellence and Bookseller’s Best Awards), include historical fiction (e.g., The Gentleman Poet, wherein Shakespeare escapes to the New World aboard a ship bound for disaster) and contemporary suspense. The Extreme Novelist (nonfiction) is the text based on her courses at The Smithsonian Associates and TWC. Kathryn’s premium mentoring services can be found here: www.KathrynJohnsonLLC.com, and at www.WriteByYou.com. Reach out with questions or for a free 20-minute private consultation: Kathryn@KathrynJohnsonLLC.com.

LEADERS

A 30-year professional speaker, and three-time Bestselling author with books translated in over a dozen languages, Rob Jolles has traveled over 2.5 million miles delivering keynotes and workshops all over the world. Now in it’s 4th edition, his Bestselling book, How to Run Seminars & Workshops has now been on the shelves for over 25 years, and he currently trains authors to speak by some of the largest publishers in the country. He lives in Chevy Chase, Maryland. More about him at: 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. Beth Kanter is the author of numerous books including the soon-to-be-released No Access Washington DC, Washington DC’s Chef’s Table, and Day Trips from DC. Beth’s essays and articles have appeared in a range of national newspapers, magazines, and online publications. She earned her MSJ from Northwestern’s Medill School of Journalism and has been leading Boot Camp for Writers for almost ten years. Victoria Kelly is the author of the novel Mrs. Houdini (Atria Books/Simon&Schuster) and the poetry collection When the Men Go Off to War (Naval Institute Press). She graduated from Harvard University, Trinity College Dublin and the Iowa Writers’ Workshop and has taught Creative Writing at the University of Iowa and Old Dominion University. Her work has been published in dozens

of literary journals and anthologies, including Best American Poetry, Prairie Schooner, Colorado Review, Southwest Review and North American Review. She volunteers as a member of the Artists’ Council for the Armed Services Arts Partnership. Christine Koubek’s essays and stories have appeared in The Washington Post; Poets & Writers; Brain Child; Chautauqua; Washingtonian; Bethesda and Arlington magazines, and more. Christine received an M.F.A. in Creative Writing from Fairfield University and was awarded residencies from the Virginia Center for the Creative Arts and Ragdale. She was also a 2018 Eckard College Writers in Paradise fellow. More about her at: www.christinekoubek.com.

The Writer’s Center widely in literary journals and magazines such as American Poetry Review. She has an M.F.A. in Poetry and an M.A. in English/Creative Writing/Poetry. Alyce Miller is the award-winning author of 5 books and more than 250 stories, essays, poems, and articles. She taught for 21 years in the Graduate Creative Writing program at Indiana UniversityBloomington.

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 publications including Cosmopolitan, Playboy, Good Housekeeping, ELLE, Marie Claire, Woman’s Day and Redbook.

Nicole Miller has published essays in New Letters (Dorothy Cappon Prize, 2014; Best American Essays, Notable 2016) and Arts & Letters. Her fiction has appeared in The May Anthologies, edited by Jill Paton Walsh and Sebastian Faulks, and Abundant Grace, ed. Richard Peabody. After completing an M.Phil in Victorian Literature at Lincoln College, Oxford University, she did a Ph.D. in English at University College, London, and an M.F.A. in Creative Writing at Emerson College, where she held the Graduate Fellowship. She is a scholarly reader for The Oxford English Dictionary and teaches literature and writing at Politics and Prose, Grub Street (Boston) and Kingston University (UK).

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 Gargoyle, The Millions, The Rumpus, Notre Dame Review, Denver Quarterly, and many others.

Marianne Murphy is a Philadelphia-based poet, animator, performer, and teaching artist. Her work has appeared in magazines such as Highlights for Children, LADYBUG, and CICADA. She holds an M.F.A in Writing for Children and Young Adults from VCFA, where she studied visual poetry. More about her at: www.flamingboots.com.

Desirée Magney, an attorney, writes nonfiction and poetry. Her work has appeared in Bethesda Magazine, the Washingtonian, Washington Post Magazine, and Delmarva Review. She is the publisher of Little Patuxent Review and teaches memoir at The Writer’s Center.

William O’Sullivan is a writer and editor whose personal essays have appeared in The New York Times, The Washington Post, Washingtonian, 100 Word Story, and North American Review, among others. His work has been cited three times among the notable essays of the year in The Best American Essays.

Bestselling author Mary McCarthy has been a journalist for over 25 years, with bylines in The Washington Post, Baltimore Sun, Philadelphia Inquirer, and editorial positions at Chesapeake Family and What’s Up Eastern Shore. She wrote a humor column called Quite Contrary and had a humor blog when blogging was barely even a thing. Katherine McCord is the author of Island and Living Room (prose poems)--a lyric essay memoir, My CIA; a poetry chapbook, Muse Annie; and a literary memoir, Run Scream Unbury Save. My CIA was named a top ten book of 2012 by the Review of Art, Literature, Philosophy and Humanities and added to their ongoing list of Great Nonfiction reads. It won a Baker Artist Award; was showcased on Maryland Public Television’s, An Artworks Special; and was featured through an art installation co-produced by Maryland Institute College of Art’s M.F.A. in Curatorial Practice in early December 2013 in Baltimore. Katherine has been published

Laura Oliver publishes award-winning stories in magazines, newspapers, and top-tier literary reviews: The Washington Post, The Sun Magazine, The Writer, Country Living and Glimmer Train. She is the author of The Story Within (Penguin Random House,) named by Poets and Writers Magazine as one of the best writing books ever published. She has taught at the University of Maryland, St. John’s and Washington College. Alan Orloff has published eight novels, including, Pray For the Innocent. His debut mystery was an Agatha Award finalist, and his story, “Happy Birthday” was a 2018 Derringer Award finalist. His story, “Rule Number One,” was selected for The Best American Mystery Stories 2018 anthology, edited by Louise Penny. More about him at: www. alanorloff.com. Zach Powers lives and writes in Arlington. His novel, First Cosmic Velocity, is forthcoming from

Workshop & Event Guide Fall 2018

WORKSHOP LEADERS

Mary Quattlebaum is the author of 27 award-winning children’s books (Pirate vs. Pirate, Jo MacDonald Hiked in the Woods, Magic Rabbit: True Stories of Amazing Rabbits). She teaches in the MFA program in writing for children at the Vermont College of Fine Arts and is a popular school and conference speaker. Elizabeth Rees, M.A. is the author of the poetry collection Every Root a Branch, and three awardwinning chapbooks. Her poems have been widely published, including in Partisan Review, Kenyon Review, Southern Review and Agni. She has taught at Harvard University, Boston University, Macalester College, Howard University, the U.S. Naval Academy, and Johns Hopkins University’s graduate program, and at The Writer’s Center since 1989. A Maryland poet-in-the-schools since 1994, she has served as consulting writer to the U.S. Holocaust Memorial Museum, the Kennedy Center, the Smithsonian Museums’ Traveling Exhibitions, and PBS. Emily Rich has edited nonfiction for literary reviews for over five years. Her work has been published in a number of small presses including Little Patuxent Review, r.kv.ry, the Pinch, and Hippocampus. Her essays have been listed as notables in Best American Essays 2014 and 2015. She teaches memoir writing at the Lighthouse Literary Guild at the University of Maryland in Salisbury. Lynn Schwartz is a story development editor and ghostwriter. Her plays have been performed in NYC, including Lincoln Center. She founded the Temple Bar Literary Reading Series in NYC, has received two Individual Artist Awards in Fiction from the Maryland State Arts Council, and taught fiction at St. John’s College. 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. Rose Strode is a teacher, environmental essayist, and poet. She is a recipient of the Sidney L. Gulick Fellowship at the Brauer Museum of Art at Valpariso University in Chicago; a student in the M.F.A. program for poetry at George Mason University; and a volunteer gardener at a Buddhist temple.

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 Hindu-Goodbooks Prize. A Bethesda native, she currently lives and works in India. 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, newspapers including The Washington Post, and have been produced for public radio. More about her at: www. saramansfieldtaber.com. Sue Ellen Thompson’s fifth book of poems, THEY, was published in 2014. An instructor at The Writer’s Center since 2007, she has previously taught at Middlebury College, Binghamton University, the University of Delaware, and Central CT State University. She received the 2010 Maryland Author Award from the Maryland Library Association.

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 plainlanguage newsletter and newswriting tips for the Radio Television Digital News Association. For more information about Hank Wallace, visit his website at: www.wsln.com. Richard Washer, M.F.A., playwright and director, serves as Associate Artistic Director and First Draft Resident Playwright at The Rose Theatre Company. He holds a B.A. (University of Virginia) and an M.F.A. (American University). His produced full-length plays include Missa, Of a Sunday Morning, Monkeyboy (co-written with Keith Bridges and Chris Stezin), The Fetish, Getting It, and Quartet. Most recently, his musical (music by Mark Haag) Persephone: A Burlesque received a workshop reading at First Draft at the Rose Theatre in March, 2018. More about him at: www.richardwasher.com. Spencer Wise is the author of the novel, The Emperor of Shoes (HarperCollins, 2018). His work has appeared in journals such as Narrative Magazine, Hayden’s Ferry Review, and The Florida Review. He is the recipient of the 2017 Gulf Coast Prize in nonfiction and a Vermont Studio Center fellowship.

Submissions are open! Little Patuxent Review (LPR) is seeking submissions of nonfiction, fiction, poetry, and visual art for its unthemed Winter 2019 issue. Submissions will be accepted from August 1st through October 24th. LPR publishes diverse voices and aesthetics and encourages both emerging and established authors to submit. Review our guidelines at littlepatuxentreview.org.

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

LEADERS

Putnam/Penguin, and his story collection, Gravity Changes, won the 2017 BOA Short Fiction Prize. He led the workshop at the Flannery O’Connor Childhood Home for eight years and teaches writing at Northern Virginia Community College.

How I Came to The Writer’s Center . . . By Caroline Bock

eath is a good way to start. *

Maybe you don’t think so, but I wouldn’t have written my debut collection of short stories, Carry Her Home, without the death of my Pop. My husband and I had just put our Long Island home on the market when Pop died, not unexpectedly, from the ravages of Parkinson’s. We were planning to make a big move to the D.C. area for my husband’s career. It would be the first time in my life I would be living outside of New York. * In late October, four days after Pop was buried, Hurricane Sandy hit us. While we were spared the worst of it— the winds felled a line of evergreens in my yard and power lines were strewn across our streets—I told my husband to stay in Maryland where he had already started his new position. I would take care of the house and our two kids. I was my father’s daughter. Pop, who had singlehandedly raised four children, even came to me in the cold, dark howl of the wind. He said, “Toots, write all this down.” I couldn’t. I could only cry out that I missed him before the wind took his voice. * When we arrived in Maryland in August, I had no friends in the area, barely an acquaintance. Years before, I

had given up my career in cable television to focus on raising a family and to circle back to my original plan: to write stories. I had completed an M.F.A. in Fiction at the City College of New York. I had the very good fortune of having two young adult novels published. Still, with the death of Pop, with the move, I was adrift, displaced. And even more, I was losing any desire to write another novel, or anything at all. * Within weeks of settling into our new home, I decided to take a creative writing class. At least, I’d have somewhere to go. And I thought: I could go forward by going back. Short stories were always my first love, even as I had abandoned them to focus on writing novels. I had many years before studied as an undergraduate at Syracuse University with Raymond Carver and Tobias Wolff. Hadn’t I always wanted to write short? * Pop always said I’d write about him someday. He was a remarkable man. When my mother suffered a massive stroke, which resulted in brain damage, paralysis, and institutionalization (she would live on another forty-five years), he declared that he would raise his four children by himself. I was the eldest at four-and-a-half years old. It was 1967. Fathers, especially single fathers who were working two jobs, did not raise

Photo by Michael Bock

four children alone. I’m parsing my story. The bottom line: I needed fiction to help me understand my loss, and for a while, fiction was lost to me. * So, I took my first class in flash fiction. I had no idea what flash fiction was—I had never read any, and I had never written any. The appeal of a story compressed to a thousand words, or less, drove me to The Writer’s Center. I also signed up for another class, 6 Stories/6 Weeks, figuring it would fire me up to write. And I did write. I wrote about a Jewish guy from the Bronx, who had a tumultuous, shortlived marriage to an Italian-American girl from Queens. I called him ‘Pop.’ I wrote stories about love and family and tragedy. I wrote short, sudden fiction, and I wrote long, short fiction. In my new home in Maryland, I sat in front of my old computer, fortified by tea with milk and honey, and wrote.

Workshop & Event Guide Fall 2018

In the 6 Stories/6 Weeks class, I met Angela. After the official class was over, at Angela’s urging, several of us continued meeting. We agreed our focus would be full-length stories or novel chapters. For the first meeting, we gathered at her house, which was fantastically filled with ravens, photos and paintings of ravens, sculptures of ravens, and ravens from the Poe museums in Baltimore and Richmond. From atop her bookshelf, one sleek, glassy-eyed raven, a taxidermist’s handiwork, urged us on. If I knew what ravens symbolized then, bad luck, the Greek gods’ messengers, it might have foreshadowed what Angela soon shared with us. She was battling cancer. In a few months, she would be dead. However, by then, our group, born out of The Writer’s Center, was determined to continue,

if only to show up Death with our writing. * In the past five years, I’ve taken half a dozen classes at The Writer’s Center, and more recently, I’ve leapt into leading workshops as well. All the while, I am writing my fiction with the support and friendship of the people I discovorty-seven stories—from flash fiction to full-length works, deeply felt, autobiographical fiction—unfold across the decades ered there. from the 1960s to present day and reveal a family’s hopes and

fears, truths and lies, and love. This award-winning, debut short story collection will break your heart and carry you home. C A R O L I N E B O C K is the author of the critically

Caroline Bock’s debut acclaimed young adult novels:short Lie and Beforestory My Eyes from St. Martin’s Press. Educated at Syracuse collection, Carry Home, winner of University Her where she studied creative writing with Raymond Carver and with a MFA in Fiction from the 2018 Fiction byshethe WashThe CityAward College of New York, is a lecturer in Creative Writing at Marymount University in ington Writers’ Publishing House, will Arlington, Virginia. She lives in Maryland. writers’ publishing house—10/15/2018 be washington published on October 15th in trade paperback—978-1-941551-16-5r—$17.95 216 pages—5.5 by 8.5 ebook—978-1-941551-17-2—$7.99 paperback and ebook by WWPH. She literary/short story more information: washingtonwriters.org willforread from her new work at The Writer’s Center on November 10 and lead a workshop in short story writing in November (see page 18).

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

BOOK TALK Naked Joy, Confessions of a Skittish Catholic from Idaho Nan Kilmer Baker ISBN: 978-0997779516

Author Nan Kilmer Baker grew up in Idaho, land of potatoes, where she discovered a cast of quirky characters, including her Aunt Millie, who raises peacocks, roasts squirrels and dresses her detergent bottles. More than a memoir, Naked Joy takes readers out of Idaho and on to unforgettable adventures around the world.

Make the Most of Your Workday: Be More Productive, Engaged, and Satisfied As You Conquer the Chaos at Work Mary Camuto ISBN: 978-1632651297

Make the Most of Your Workday contains strategies and tools from several key areas and combines them into a concise practical guide, from strengthening your mindset and self-awareness to identifying needs and goals, from prioritizing your time and energy to communicating effectively and managing the unexpected. This book is intended to help any individual with a workday but can also assist teams and leaders.

Neptune’s Garden and Other Adventures Ron Chandler ISBN: 978-1976596582

“Neptune’s Garden and Other Adventures is an entertaining read for those who enjoy nature. The stories take readers on a trip through the wilderness from the Appalachians to the Chesapeake Bay.” – IndieReader. Plus, it features a murder mystery set on a research facility at the bottom of the Atlantic Ocean. Available at Amazon.com.

Brave Healing, a Guide for Your Journey Laura Di Franco ISBN: 978-1947486058

Brave Healing, A Guide for Your Journey is a new book from Possibilities Publishing Co. by

expert holistic physical therapist and third-degree black belt, Healing Laura Di Franco, MPT. Weaving A Guide for Your Journey together over two decades of experience, she offers powerful tools to redefine healing. What if there’s something you haven’t Laura Di Franco, MPT learned yet that could change everything? This is that book! Currently available on Amazon.com.

Brave

No End of Bad Ginny Fite ISBN: 978-1626949232

A D.C. conspiracy novel of grand proportions...Washington, D.C. housewife Margaret Turnbull’s world literally blows up after her husband, F.B.I. agent Clay Turnbull, is falsely arrested and killed by agents working for an international drug cartel. Unbeknownst to Margaret, her enemy’s tentacles reach all the way to the White House and control senior personnel. Their powerful enterprise in jeopardy, the assassins will stop at nothing to cover their tracks. With cutting-edge surveillance—C.I.A., F.B.I., and N.S.A. technology—there’s nowhere to hide, no one to trust. No one is safe—anywhere.

The Point of the Spear John J. McKeon ISBN: 978-1980994398

Who was here first? Who is a “real” American? What do we owe the past? An excavator turns up some VERY old bones, and battle lines are drawn among Native Americans, white supremacists, scientists…and a young reporter in pursuit of a very hot story. www.Amazon.com/author/johnjmckeon

Until It Wasn’t Sharon Neff ISBN: 978-1684011018

In Until It Wasn’t, Sharon Neff chronicles the raw experience of her husband’s cancer journey, through the onslaught of emotions after his death. This

The Writer’s Center memoir is a testimony to great love and great loss and unbridled strength. Hers is an inspirational and provocative story of love, loss, and finding hope again.

Gravity Changes Zach Powers 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

Our Frail Disordered Lives Mary M. Schmidt ISBN: 978-1483485102

Roach the Demon may not be the sharpest pitchfork in Hell. He seethes with envy over having been left out of Dante’s Inferno. But now he’s in our world, out to best Satan at his own game. Believe whatever Roach tells you…at your peril. www.lulu.com/content/paperback-book/our-frail-disorderedlives/22913129

About Time: The Unsung Genius of Steve Winwood Chuck Sullivan ISBN: 978-1483477466

Steve Winwood is the greatest musician of our time. He wrote 200 songs with The Spencer Davis Group, Traffic, Blind Faith and his extensive solo career, winning four Grammys. He has the immediately recognizable voice of several generations. Author/musician Sullivan includes several first-hand insightful interviews with notable musicians. www.stevewinwoodbook.com

Workshop & Event Guide Fall 2018

POET LORE

Expanding Poet Lore’s Community: “Poets Introducing Poets” By Laureen Schipsi

oet Lore, established in 1889, is the oldest poetry magazine in the United States. It has been published by The Writer’s Center for the past thirty years. With a 129-year history of publishing, Poet Lore serves as a chronicle of the American literary arts landscape from the late nineteenth century to the present. The magazine’s longevity is due to the work of a succession of committed and astute executive editors—from its founders, Helen Clarke and Charlotte Porter, to its present executive editors, Jody Bolz and E. Ethelbert Miller. Over the decades, these editors have read thousands of submissions, seeking poets who embrace and awe the reader through their ability to communicate a common understanding of what it means to be human here, now, and always. Bolz and Miller, accomplished poets themselves, have continued to uphold—and boost—the standards of Poet Lore, using their keen awareness and literary knowledge to select poems that either fill that space in the reader that needs articulation or create a new one. Part of their success at selecting excellent work derives from the intensely loyal community of fellow poets they have fostered and nurtured throughout their careers. Shortly after they took the helm in 2002, they realized they wanted to employ the discerning ears/eyes of Poet Lore’s contributing editors (Cornelius Eady,

Tony Hoagland, David Lehman, Alberto Ríos, Jane Shore, David Wagoner, and Michele Wolf) in the selection and curation of poems for the magazine. To that end, in 2003 Bolz and Miller introduced a new feature, “Poets Introducing Poets,” in which these established poets could present work by writers they admire whose poems have never appeared in the magazine. In 2010, Bolz and Miller began expanding the series to include well-known poets from a variety of geographical and cultural constituencies, further enlarging the community they both nurture and actively participate in. In each “Poets Introducing Poets” feature, the curating poet includes a brief introduction to the featured poet, characterizing the qualities that commanded their attention and forged their allegiance. There are no rules as to age, gender, or ethnicity in the selection process: M’Bilia Meekers of New Orleans was a new undergraduate in Louisiana when she was featured, while Diana O’Hehir of Northern California was in her 80s. Kyle Grant Wilson is Navajo (Dine’), dg nanouk okpik is Inuit, Mihaela Moscaliuc is Romanian-American. Portfolios in the series explore a wide range of themes—including race relations, sexual energy, the complexities of time, memory, and loss. All of the work is crafted carefully: some poems are etched in meditative stone while others whiz off the pages like ticker tape.

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Bolz and Miller not only have an eye for recognizing poems with lasting qualities, they have an eye for selecting other poet-editors who understand and identify voices with staying power. Many of the featured poets have published well-received books in the years since their work appeared in the magazine, including Tarfia Faizullah’s Seam (2014), which won the Crab Orchard Series in Poetry First Book Award, and her Registers of Illuminated Villages, just out from Graywolf Press; and Abdul Ali’s Trouble Sleeping (2015), which won the New Issues Poetry Prize. Gregory Pardlo, who was featured in Poet Lore in 2009, won a Pulitzer Prize in 2015 for his poetry collection Digest. Bolz and Miller know that community builds upon everyone who participates in it—poets and their readers—which is why these editors are both generous and smart to share the pages of Poet Lore with other great poet-editors in the “Poets Introducing Poets” series. Laureen Schipsi is Managing Editor of Poet Lore. The Fall/Winter issue of Poet Lore comes out in October. Get your subscription now at poetlore.com: $28/two years (four issues) $18/one year (two issues)

The Board of Directors at The Writer’s Center includes not just generous philanthropists, but accomplished authors, as well. We asked some of them to share their experiences at The Writer’s Center and how their time here has helped them on the path to publication. Kenneth D. Ackerman

Sally Mott Freeman

“The Writer’s Center has been integral to my writing life, from the first workshops I took in the 1980s where I learned the basic disciplines of perfecting thoughts on paper to recent years where I’ve had the chance to lead workshops and help nurture the creative energy of new writers. It’s been a thrill throughout, a constant in a changing world.”

“My first class at The Writer’s Center was in 2004 in narrative nonfiction. My manuscript evolved—in flow, voice, narrative arc, and character development over ten more classes that followed. My book, The Jersey Brothers, was published by Simon & Schuster in May 2017 and is now in its sixth printing. In grateful reciprocity, I have served on the Board for twelve years, four as the Chair. Long live The Writer’s Center!”

Naomi F. Collins “When I joined The Writer’s Center Board, I had already published nonfiction works, but didn’t realize that creative nonfiction is a ‘thing.’ Since then, the Board’s energy and the Center’s mission have inspired me to continue writing...I’ve come to realize that writing can produce not only fiction and poetry, but also ‘creative nonfiction.’ Now I have a name for what I’ve been doing and an impetus to try more and new approaches.”

James Mathews “I took my first workshop at The Writer’s Center in 1993 and was immediately taken by the nurturing environment and high quality of instruction. Richard Peabody, Susan Land, and Barbara Esstman are just a few of the instructors who inspired me. I had never been published before, but I can easily trace my first published short story—and all the work since—back to this wonderful institution!”

Mark Cymrot

Joram Piatigorsky

“My first thought that writing a book might be possible came in a workshop. The support group, workshop leaders, and our Board members all reinforced my drive to write Squeezing Silver: Peru’s Trial against Nelson Bunker Hunt. It was a great achievement that never would have happened without the Center.”

“The Writer’s Center has had a major role in my switching from a scientist of 50 years to a writer! Excellent workshops by Robert Bausch, Barbara Esstman, Kate Blackwell, Catherine Mayo, Alan Orloff, Elizabeth Poliner, and William O’Sullivan have proved invaluable, and my tenure on the Board of Directors has given me a network and home as a writer. My involvement with The Writer’s Center has led to a published novel and memoir, and a short story collection now in press. Thank you, Writer’s Center!”

Workshop & Event Guide Fall 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

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Lanugo By Bailey Blumenstock, Washington, D.C. Winner of the 2018 Bethesda Urban Partnership Poetry Contest

Lanugo

Judged by E. Ethelbert Miller

By Bailey Blumenstock, Washington, D.C. I pull nests of black hair momma

from my mouth

pulls the hair from the drain

to her loom and weaves them

in the shower

wraps the strands

straight and soft

makes a blanket

wraps my body in it my fingers and toes are broken

the tips angled over many gold rings

with the veined leaves of an aloe plant

she sets them

they bleed cool over the bruises

my hands slip into hers she

asks me

bailey do not try to crawl

your birth

nearly killed me

tightly

into my womb must you hold me now like a gun

Workshop & Event Guide Fall 2018

IN MEMORIAM

Dr. Rod Jellema

his past May, beloved poet and The Writer’s Center instructor Rod Jellema died at the age of 91. A retired professor, he taught at the University of Maryland for four decades and served as the founding director of the institution’s acclaimed creative writing program. As a poet, he published five books, including a collected edition published in 2010. He is remembered at The Writer’s Center for his inspiring workshops and generous nature. We wish the best to his family, friends, and all the writers who have been touched by his broad influence. And to Rod, Godspeed.

Rod Jellema (2nd from right) with former students Mark Smith-Soto, Kevin Craft, and Marie Pavlicek-Wehrli

Zahara Heckscher Appreciation of a Workshop Leader By David Y. Todd

ometimes you can tell in a moment, walking into a workshop—at midterm, say—what the participants feel about being there: what the level of their affection and investment is. I first met Zahara Heckscher at a reception for workshop leaders at The Writer’s Center in 2011. We discovered that as alumni of the same small college we shared a lasting appreciation of our teachers there and agreed that we also now were teaching, despite the better pay of other jobs we’d done, for the unique joy of it. Then, she kindly invited me to guest lecture at the “Writing Staycation” she’d created. On entering her classes at The Writer’s Center (and, later, when I joined her in teaching at the University of Maryland), I saw that hoped-for fondness among participants immediately: in the little bemused, unguarded smiles at for the most up-to-date news and information, visit www.writer.org

IN MEMORIAM comments of hers, in the easy, even happy readiness with which they launched group work at her cue. In 2015, Zahara retired from teaching to focus on resisting the cancer that eventually took her life, in February 2018. But after she’d finished mentoring me to take over one of her classes, I found I’d been handed also that marvelous vibe, intact—which her design of materials enabled me to maintain. Once, sitting together at a cacophonous breakfast in a busy café, discussing how to inspire apprentice writers and mark their drafts more usefully, as we both took notes to keep up, she paused, seeing how much more creative disorder we were then risking, and touched me on the elbow and said, You are going to have to be careful here: our minds appear to be cut from the same cloth. Whether or not it was true I resisted the thought immediately, though I’m glad all I did in that moment was smile, for I get now what she was really telling me that day. She was trusting me not just to deploy her writing exercises effectively but to keep alive her reasons for teaching. I must feel how important it was to coax writers to grow in their own wisdoms as they worked to become more informed, imaginative, precise, and evocative. She was teaching me so that anyone spending time in her-my-classroom would make the world better. But here’s something Zahara doesn’t know she taught me: After one such as she—creative control freak, emanator of delightful disorder, incisive advocate for human rights—passes away, much more than she could know of

what she created survives her death. I’ve felt it in class, in the halls, at the writing table, for Zahara proved how much the connection between us, between friends, matters in any workproduct we might attach pride to. So few editorial experiences have I liked as much as I did this bout with her five years ago, with a warm, late spring sunlight coming into the kitchen of my home: I sat at the table with Zahara and a young woman she’d hired as her personal assistant, the assistant chuckling despite herself as she witnessed Zahara and myself exchanging sound reasons why each of us was correct in our opposing judgments about some edits I’d inked onto the first manuscript chapter of her novel, Spice Lady.

The Writer’s Center always in motion. I see you charging along, pulling that roller-case of yours full of books, paperclips and papers, of markers and bottles of water. I see your dark eyes, bright with indignation at any wrongdoing. Your determined energy. Your impatience toward laziness of any kind but particularly toward the laziness of cynicism. Your readiness to goose any sluggish player in the game. Your forceful proof of what it means to be creative. Your intolerance of injustice. Your soul is not departed. It is in motion, all around me, here, still, at this table, where I pray to be present, as you were, to compose good work for everyone near.

I was drinking coffee. Finally Zahara pushed the cup aside and placed before me a strange, vegan soup she’d brought. Sprinkled with fresh, cool bean sprouts, it was a fantastic, hot broth with all kinds of separately packed bits of fresh ingredients she added to the bowl just before serving. The lunch was excellent, one of the best I’ve had. Why? By this point in life one has eaten plenty of fine meals in good company. Why do I remember that lunch with her so vividly? Vaguely now do I get an inkling. Who was providing nourishment to whom, that day? Although just editing for a living had been depleting me more than I would admit, still it was a job I’d long done well enough, and I wasn’t going to let this spice lady deny the brilliance of my every mark on her work. I’d thought I was feeding her. Now I know better. Zahara, for me your soul is poised, not in peace but alive, full of colors, Workshop & Event Guide Fall 2018

WE ARE GRATEFUL The Writer’s Center gratefully recognizes Ann McLaughlin and her family for their generous legacy contribution and lifelong commitment to the organization. An accomplished writer and cherished workshop leader, Ann influenced hundreds, if not thousands, of aspiring writers. Her gentle bravery and disciplined writing affected so many in this community. Ann’s intellect and warmth, combined with her vision and dedication on the Board of Directors and as a founding member, helped The Writer’s Center become one of the premier centers of its kind. All those who knew her in The Writer’s Center community deeply miss her. Words cannot begin to express our gratitude to Ann and her family for their remarkable support, which will have a deep and lasting impact on our ability to cultivate the creation, publication, presentation, and dissemination of literary work in the Greater Washington community. That support will inspire and empower thousands of writers – new and old – to find their voices, hone their craft, and invent the literature of the future.

We Are Grateful to Our Donors Langston Hughes Circle—$2,500+ Arts and Humanities Council of Montgomery County—Thomas N Bolling and Laureen Schipsi—Mark Cymrot and Janinne Dall’Orto—Sally Mott Freeman and John Freeman—Greater Washington Community Foundation—John and Barbara Ann Hill—Howard Lavine—Edward Lieberman—Maryland State Arts Council—Montgomery County Executive’s Ball—Omega Foundation—Joram P. Piatigorsky and Lona Piatigorsky—Tau Foundation Inc—The Harvey Companies—The Max and Victoria Dreyfus Foundation—The Morris and Gwendolyn Cafritz Foundation Zora Neale Hurston Circle—$1,000+ Anonymous—Kenneth and Karen Ackerman—Margot Backas—Bydale Foundation—Timothy Crawford—Virginia M. Grandison—Patricia Harris and Sandor Slager—Jim and Kate Lehrer—James and Diana Mathews—Margaret and Calvin Meleney—Henry Morgenthau—William Reynolds and Nancy M. Lincoln—Mier and Cathy Wolf Anton Chekhov Circle—$500+ Anonymous—Linna Barnes and Christian Mixter—Roberta Beary—Kate Blackwell and Felix Jakob—Debbie Cohen—Neal and Mary-Margaret Gillen—John and Rachel King—Jim McAndrew—Network for Good—Charles Parsons Emily Dickinson Circle—$250+ Naomi F. and James F. Collins—Lisa Crye—Mary Carol Dragoo—Robert and Mary Eccles—Ann Friedman—Meg Hardon—Les Hatley— Erika Horton—Teresa Camacho Hull—Joseph and Kathryn Kolar—Desiree Magney—Steven and Janice Marcom—Scott F. McCarthy— Robert Atcheson and Gene Smith—Elias Souri—David O. Stewart—The Viner Foundation—Craig Tregillus—David Winer Founder’s Circle—$100+ Linda Adcock—Bill Ade—B. K. Atrostic—Robert Ausura—Philip C. Barbara—Deborah Barger—Jamie Bennett—Carmelinda Blagg—Scott Boswell— Rebecca Browning—Phil J. Budahn—Dana Cann—Nancy N. Carlson—Eliza Carney—Patricia R. Carrico—Randy Cepuch and Nancy Wallace—Rosemary M. De Rosa—John DeDakis—Gregory Djanikian—Jonathan Eig—Jennifer English—Fannie Mae—Fidelity Charitable—Freddie Mac—Robert L L. Giron—Robert Granader—Cynthia Hamilton—Brigid Haragan—Patricia Harden—Jay and Linda Herson—Jamie Holland—Martha B. Horne— Donald Illich—Felix Jakob and Kate Blackwell—Edward and Victoria Jaycox—Carol Jennings—Aileen Johnson—Warren Jones—Eugenia Kim—Elizabeth Kirkpatrick-Vrenios—Arnold Klick—James Klimaski and Katharyn Marks—Kathleen Krause—Rhys and Sue Kuklewicz—Susan Land—Doreen M. Lehr—Richard and Katharine Lorr—Patrick Madden—Perry Maiden—Frank and Elizabeth Malone—Sandra Mathis—Judith McCombs—Lynn Mobley—Lisa Munson—Jean Nordhaus—Diana Parsell—Jeffrey and Stacy Porro—Jeffrey Prince—Kathy B. Ramsperger—Robert Richardson and Audrey Hinton—David and Gayle Roehm—Dan Rosenblum—Kenneth Sala—Jack Sbarbori and Stephanie A. Mumford—Barbara Schoeberl—William Schofield—Richard Seldin—Alex Smith—Jeffrey and Claudia C. Smith—Larry and Louise Smith—Lynn and Michael Springer—Hal Stull—Sara Taber—Frances Toler—Jane T. Udelson—Elizabeth Vrenios—Renee L. Weitzner—Judith Wood—Lee Woodman For a full list of supporters, please visit writer.org/about/donors for the most up-to-date news and information, visit www.writer.org

ABOUT US

The Writer’s Center

The Writer’s Center Mission Statement 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 levels of ability. The Writer’s Center is a 501 (c) (3) nonprofit organization and donations are tax deductible.

Executive Director

Office Manager

Margaret Meleney

Grace Mott

Director of Programs

Managing Editor, Poet Lore

Laura Spencer

Laureen Schipsi

Development Director

Front Desk Team

Amy Freeman

David Sobalvarro Maddie Willsey

Communications Manager

The Writer’s Center 4508 Walsh Street Bethesda, MD 20815

Zach Powers

Board of Directors

301.654.8664 www.writer.org

Chair: John M. Hill

Vice Chair: Kenneth D. Ackerman

Treasurer: Mark Cymrot Poet Lore is the oldest continuously published poetry journal in the United States. We publish semi-annually, and submissions are accepted year-round. Subscription and submission information is available at www.poetlore.com.

Book Gallery

Secretary: Patricia A. Harris

Chair Emeritus: Sally Mott Freeman Margot Backas • Linna Barnes • Debbie L. Cohen • Naomi F. Collins Patrick Corvington • William DeVinney • Lakshmi Grama •Les Hatley James T. Mathews • Jim McAndrew • Joram Piatigorsky • Bill Reynolds • Mier Wolf

Honorary Board

TWC’s book gallery carries an extensive collection of literary magazines and books on craft.

Kate Blackwell • Timothy Crawford • Dana Gioia • Jim & Kate Lehrer Alice McDermott • Ellen McLaughlin • E. Ethelbert Miller • Howard Norman

Supported in part by:

The Writer’s Center also gratefully acknowledges the support we receive from: The Tau Foundation, The Omega Foundation, and The Max and Victoria Dreyfus Foundation.

Workshop & Event Guide Fall 2018

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