writing classes - Hugo House · Three international writers (Usman Ali, playwright; Eman AlYousuf,...

writingclasses

Fall 2018

WRITING ABOUT ALMOST NOTHING • WRITING FICTION THAT DARES • NARRATIVE TIME TRAVEL • STORY STRUCTURE • WRITING DIALOGUE • HOW TO START A NOVEL YOU CAN ACTUALLY FINISH • THE ROLE OF PL ACE IN FICTION • SHORT STORY GENERATOR • THE WRITER'S NOTEBOOK • WRITING THAT MAT TERS • FINDING YOUR VOICE IN CHILDREN'S WRITING • WRITING LITER ARY JOURNALISM • PITCH L ABOR ATORY • THE MICRO ESSAY • PLOT IN MEMOIR • BUILDING THE STORY • SPECUL ATIVE NONFICTION • WRITING THE NEW SEAT TLE • ARCHITECTURAL STORIES • WRITING WITH RICHARD HUGO • METAPHOR IN THEORY & PRACTICE • OULIPO: THE CREATIVE BEAUT Y OF CONSTRAINTS • POET-RY FROM STAGE TO PAGE • STORY TELLING SECRETS • THE ANATOMY OF A SENTENCE • POINTS OF VIEW • FINDING AND FREEING YOUR VOICE • AND MORE • HUGOHOUSE.ORG

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TABLE OF CONTENTSThe New Hugo House ... 2

Visiting Writers ... 4

Online Classes ... 7

Fiction ... 8

Nonfiction ... 12

Multigenre ... 16

Poetry ... 21

Advanced Courses ... 23Yearlong Classes, Manuscript Classes, Book Lab

Resources ... 26

About Our Teachers ... 27

REGISTRATIONRegister in person, by phone, or online at hugohouse.org. Become a member of Hugo House to save on classes and register a week before the general public.

All registration opens at 10:30 a.m.$500+ donor registration: August 20Member registration: August 21General registration: August 28

Register early to save with early bird pricing, in effect August 20 through September 3.

CLASS LEVELSMost classes are intended for writers with all levels of experience. If a class is intended for a specific level, it will be noted in the class description as Introductory, Intermediate, or Advanced.

SCHOLARSHIPSWe offer need-based scholarships every quarter. Apply via the link at hugohouse.org/classes/about-our-classesIf you have questions about the appliation process, please email [email protected].

Scholarship applications due: August 31Scholarship applicants notified: September 7

At Hugo House, the coffee is always free thanks to Caffe Vita!

FROM THE EXECUTIVE DIRECTOR

Thanks to you — our incredible community of readers, writers, and supporters – Hugo House has built a new home for words in Seattle, a place that our literary community will call home for decades to come. Your generosity means so much, and you all gave in so many different ways. Many of you contributed to the capital campaign, came to a reading or event to show your support, helped us spread the word by hosting a gathering of your own, shared your story, and gave us your input on which features you most wanted to see in the new Hugo House.

On September 22, we’re opening our doors (details on our opening celebration are on the back cover) and we can’t wait to share the new home with you. Built on the same site where we opened our doors more than twenty years ago, the new Hugo House features six classrooms for adult and youth pro-grams, a theater for readings and events, and plenty of space to gather and write.

Flip to the next page to familiarize yourself with the layout of the new Hugo House — 10,000 square feet of space designed by and for readers and writers.

Seattle, welcome to the heart of our literary city.

Many thanks,

Tree Swenson

[email protected]

BECOME A MEMBER

Do more at Hugo House while supporting the literary arts! As a member, you help us provide thought-provoking classes and events that connect writers and

readers to the craft of writing while receiving these great benefits:

• 10 percent discount and early registration for Hugo House classes (one week before the general public)

• Discounted tickets to Word Works and Hugo Literary Series events• 10 percent discount at the Elliott Bay Book Company, Open Books: A Poem

Emporium, Parkplace Books, Secret Garden Books, and Third Place Books• $60 tax deduction for the cost of your membership

You can also become a member when you donatie $100 or more to receive even greater benefits. Yearlong memberships begin on the day you join or renew.

Visit hugohouse.org or contact us to join or renew today!

hugohouse.org 206-322-7030

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WELCOME TO SEATTLE’S NEW HOME FOR WRITERS AND READERS

Beginning September 24, all classes, readings, and events will take place at our new home at 1634 Eleventh Avenue. The new Hugo House is in the heart of Capital Hill, on the corner of Eleventh and East Olive Street. Get to know the new home by reading about all the features below, and be sure to join us at the opening celebration on September 22. See hugohouse.org for more details!

SALONMeet with your writing group or book club, prepare for your Hugo class using our free WiFi, or tuck into one of the built-in writing nooks in the salon, which will be flooded with natural light thanks to large windows looking out onto Cal Anderson Park.

The bar, open during events and special occassions, doubles as the reception desk, which will be staffed full-time so you can register for classes or sign up for a membership in person.

CLASSROOMSWith six classrooms of varying sizes, we have space to offer more writing classes than ever before.

Each classroom is unique in size, shape, and features, designed to spark creativity much like the “triggering towns” that inspired Richard Hugo’s poems. Lined with reclaimed wood and built-in features, the classrooms are comfortable and inviting. Frosted glass panels offer privacy while letting in light, and they do dou-ble-duty as dry-erase boards.

THEATERThe 150-seat auditorium is named Lapis Theater in recognition of its funder, the Raynier Foundation, which honors the legacy of James W. Ray. Come almost any night of the week to hear debut novelists and nationally acclaimed poets, take in a craft talk, or share your work at Works in Progress, our bimonthly open mic.

PATIOAway from the hustle and bustle of Capitol Hill, the patio on the southwest side of the building features native plants and more space for people to gather. Steal away here with a book (when it’s not raining outside).

HUGO HOUSE OFFICESThis is where the staff works, planning and adminstering to Hugo House’s year-round programs and events. Wave to us from the patio!

GETTING HEREThe new Hugo House is a short walk from the Capitol Hill light rail station, and within a half-mile of many buses including routes 10, 11, 43, and 49. Walking, biking, and public transpor-tation are the best ways to reach us as parking in the Capitol Hill neighborhood can be difficult.

If you are driving, an affordable pay parking lot is available two-and-a-half blocks from Hugo House, at the Greek Ortho-dox Church at 13th and Howell, or at Seattle Central College’s Harvard Garage at 1609 Harvard Avenue. Street parking is also available but not guaranteed.

ACCESSIBILITY Our new home, which occupies most of the ground floor, is fully wheelchair accessible.

OTHER FEATURESThanks to the architects at NBBJ and community feedback, our new home is well-outfitted with practical and creative features. New (comfortable) chairs and projection screens in every class-room! Gender-neutral bathrooms! Built-in bookcases and quirky corners where your imagination can wander! Quotes from Rich-ard Hugo where you’d least expect them!

FIND USThe new Hugo House is located at 1634 Eleventh Avenue, on the corner of Eleventh Avenue and East Olive Street across from Cal Anderson Park.

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CHARACTERS, PLOT, AND THE WHOLE DAMN THINGw ith El iz abeth GeorgeOnce they’ve begun reading a book, people tend to stick with it because the characters are compelling or because the plot is tight and fast-paced, or because of both. We’ll be looking at how a writer can manage characters, plot, setting, and scene in such a way that the reader is hooked, engaged, and enthralled. We’ll also be looking at what novelist Sue Grafton meant when she said, “If you know the question, you know the answer.” Students should bring the first scene in which their main character/s appear as well as a description of the plot of their novel. Class includes one-hour lunch break.

Two sessions | Saturday, Sunday, Oct 20 & 21 | 10 am–3 pmGeneral: $472 | Member: $424.80

DIVINATION AND STRATEGY: POETRY FROM THREE MOVEMENTS w ith Cedar SigoIn times of outright political oppression, a poem can often become the perfect form in which to reimagine and reclaim our world. In this class, we will look closely at poetry by Diane di Prima, Amiri Baraka, and Natalie Diaz. In her classic polemic, “Rant,” Di Prima writes, “The only war that matters is the war against the imagination, all other wars are subsumed in it.” I hope that we will be able to share our histories, strategize, and set one another off through reading aloud, discussion, and writing in class.

One session | Saturday, Sept 29 | 10 am–1 pmGeneral: $89 | Member: $80.10

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EKPHRASIS AS TRANSLATION: POETRY AS POST-EVENTw ith Marcelo Hernandez Ca st i l loThis workshop will focus on ekphrastic poetry through the lens of translation theory in order to produce original works that expand the possibilities of translation and ekphrasis — translating only the sounds, only the emotional cores, only that which light touches. No dual language skills are necessary for this workshop.

One session | Thursday, Oct 25 | 2–5 pmGeneral: $89 | Member: $80.10

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WRITING ABOUT ALMOST NOTHINGw ith Sarah MangusoWhat happens when nothing happens? What if there’s nothing to write about? Isn’t writer’s block a universal afflic-tion? In this class, we’ll explore the infinite freedoms that exist in highly constrained writing. Sarah Manguso will present a large variety of poems and prose by authors who make great art of scant content, and students will under-take several related thinking and writing exercises.

One session | Thursday, Oct 4 | 10 am–1 pmGeneral: $155 | Member: $139.50

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MAKING ART WITH IMPACTwith writers from the University of Iowa's International Writing Program In a world where many voices go unheard, how will you make yours stand out? And how will you help to effect change? Three international writers (Usman Ali, playwright; Eman AlYousuf, prose writer; and Roberto Echeto, poet/mixed-genre writer) will work closely with students on how to use writing to impact your audience and the world around you.

One session | Wednesday, September 26 | 5–8 pmGeneral: $89 | Member: $80.10

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BREAK IT DOWNw ith L auren Grof fIn his song “Anthem,” Leonard Cohen sings “There is a crack in everything / That's how the light gets in.” Bring a piece of writing that hasn’t quite succeeded in reaching its final form (not the only copy, please). Over the course of three hours, we will crack it open in a variety of ways and see what light we can let into it.

One session | Friday, Nov 9 | 1–4 pmGeneral: $155 | Member: $139.50

AFTER , BEFORE, AND OUTSIDE AN MFAw ith R .O. KwonThis is a crash course on how to find time, money, and space to write after, before, and outside an MFA. How can writers find residencies and fellowships, and what are best practices for applying? How helpful are writing confer-ences? What’s a key part of a magazine pitch? Please come to class with ideas about short pieces you’d like to pitch to publications. You’ll leave with a draft of a fellowship/residency statement of purpose, as well as a revised pitch draft.

One session | Saturday, Nov 10 | 1–4 pm

General: $110 | Member: $99

MORE OR LESS?w ith Rae ArmantroutModernist poet Ezra Pound famously said that poetry is the most compressed form of verbal expression. By this he didn’t mean that a poem is necessarily brief. He meant that poetry packs more meaning (or activity) into each word than does any other literary form. In this course, you will study poems by such masters as Emily Dickinson and Wil-liam Carlos Williams to see how they accomplish this feat. Special emphasis will be placed on the process of revision.There will also be in-class writing exercises to generate new work. Students must submit three poems in progress – or finished poems with which they are not entirely satisfied – by October 25 in one document to [email protected]. Please also be prepared to distribute copies of your poems to your classmates in class.Two sessions | Saturday, Sunday, Nov 3 & 4 | 10 am–2 pmGeneral: $400 | Member: $360

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THE LYRIC SELFw ith Dante MichaeuxThe lyric poem is a text of emotion, a text of thought, expressed directly from the poet to the reader. Participants will read various examples of lyric poetry to observe differences in the mode and discuss methods of finding and channel-ing their lyric selves into a text. Through these steps, participants will produce a poem of their own and have a clearer understanding of lyric poetry in general. This workshop will focus solely on Anglophone poetry, with examples from Walt Whitman, Christina Rossetti, Jay Wright, Jorie Graham, and Carl Phillips, and contain a brief introduction on the traditional forms of the lyric poem.

One session | Friday, Nov 2 | 11 am–3 pmGeneral: $120 | Member: $108

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WRITING PUBLIC TRAGEDIES: HOW TO WRITE BEYOND THE MEDIA FEED WITH EMPATHY AND CRAFTw ith Amanda JohnstonHow do we come to the page in private to write creatively with media informing the details of mass shootings, ICE detention camps, or the Syrian war and refugee crisis? Natural disasters, war, and conflict disturb the peace and inspire writers to capture these threads of the human experience. This workshop will explore poetry in response to public tragedies that push beyond the headlines to the heart with care and an unblinking eye.

One session | Saturday, Nov 3 | 10 am–1 pmGeneral: $89 | Member: $80.10

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MAKING A SCENEw ith Rebecca MakkaiScenes are the building blocks of fiction—and yet while an education in playwriting pays tremendous attention to the architecture of scene, fiction workshops tend to overlook it. We’ll take a playwright’s approach to fiction by learning how to build scenes with a solid arc, scenes that advance every element of the story. On Saturday, we'll talk architec-ture, momentum, and shape. We'll also discuss all the things that aren't scene, including exposition, summary, and atemporal narration. On Sunday, we'll dissect some published scenes (and look at some that break all the rules). We'll also spend time rethinking our own scene structures. Appropriate for writers working on short stories, novels, and scene-driven creative nonfiction; beginner through advanced.

Two sessions | Saturday, Sunday, Dec 1 & 2 | See online catalog at hugohouse.org for session timesGeneral: $400 | Member: $360

AT THE WRACKLINEw ith Terr i WitekIn this generative workhop, we’ll take physical and imaginary lines in space as challenges to make new work. Exam-ples will include work from both writers and artists, and all practitioners are welcome.

One session | Sunday, Sept 30 | 10 am–1 pmGeneral: $89 | Member: $80.10

APPLYING FILM TECHNIQUES TO WRITINGw ith Steven DunnFilm uses space and lighting to evoke certain emotions. We will look at ways to make sentences and paragraphs function like how cameras zoom, pan, tilt, etc. We’ll consider what is in the visual frame — the composition of a scene. We’ll discuss high-key and low-key lighting and what effects those produce. We’ll also view a short video that summarizes camera angles, as well as read and examine passages with a filmic quality. Think of some of your favorite films and we’ll also discuss some of the techniques and try to transfer them to writing.

One session | Thursday, Sept 27 | 2–5 pmGeneral: $89 | Member: $80.10

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The workshops below are presented in partnership with the University of Washington Bothell’s Fall Convergence 2018: Alternating Facts on Septembr 29.

Convergence 2018 provides a forum to celebrate ways creative thinking and writing can be used to

create pressure points on truth and its manipulation, grounded in fiction, poetry, art, and performances. For a full program description, visit their website at mfaconvergence18.eventbrite.com.

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IMITATION GAMEw ith Kat ie FordIn this generative writing course, we will learn the art of imitation by examining the unfolding lyricism and logic inside extraordinary poems we read together in class. We will then draft poems mimicking one or more techniques, jolting our creativity via unexpected prompts and drafting strategies. Students will leave with at least three new drafts and a method of reading that can become a lifelong first step toward writing new poems.

One session | Saturday, Nov 10 | 1–4 pm

General: $89 | Member: $80.10

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MORE CLASSES WITH VISITING WRITERS.. .Details were not finalized in time for publication, but keep your eyes out for classes and workshops with these and other visiting writers:

J im Shepard , gifted and versatile novelist and short story writer;Eileen Myles , poet and writer who has written more than twenty volumes of poetry, fiction, nonfiction, plays, and performance pieces; Terese Marie Mailhot , author of the New York Times-bestselling poetic memoir Heart Berries (Counterpoint).

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FICTION Iwith Peter MountfordWhether you’re looking to write stories or a novel, this course will introduce three key elements of fiction: character, plot, and landscape. Alongside published examples and writing prompts in and out of class, you will write a short story and learn the basics of the workshop model.

Six sessions | Begins Oct 29General: $295 | Member: $265.50

No matter your location or schedule, Hugo House online classes allow you to receive the same quality instruction from our experienced teaching artists at a self-set pace throughout the week. Classes take place online via our partner, WetInk.

CREATIVE NONFICTION Iwith Anne Liu KellorThis class will help you decide the best way to tell the nonfiction story you want to tell. Together, we will write and share from generative prompts, read a diversity of essays, and investigate our own personal stories. We will learn to ask, What is this piece about?, and to explore craft elements like scene, reflection, points of view, and form. Students will be introduced to the workshop model and may submit a piece to the instructor for extensive feedback.

Six sessions | Begins Nov 6General: $295 | Member: $265.50

POETRY Iwith Michelle PeñalozaWhether a beginning poet or lover of the art, this class will introduce you to the beauty and complexity of writing and reading poetry, as well as the basics of the workshop model. We will look to image, metaphor, sound, lineation, and structure to write our own poems.


HOW TO GET STARTED AS A FREELANCERwith Nicole DiekerIntroductory | How do you get started as a freelance writer? Is it possible to turn freelancing into a full-time job? Nicole Dieker is in her sixth year of full-time freelancing, and she’ll teach you everything she knows about how free-lancers make money; how to pitch (even when you don’t have clips); how to build a freelancer schedule that combines writing, pitching, networking, and administrative work; and how to grow your earnings over time.

Four sessions | Begins Sept 29General: $235 | Member: $211.50

STORY STRUCTUREwith Jeff BenderThis class will examine, test, and even challenge the concrete fundamentals of storytelling. Toward learning them, we’ll apply the fundamentals to movies, novels, biographies, etc., and then take them to our own stories. We’ll draw from the work of storytelling gurus Joseph Campbell, Christopher Vogler, and Robert McKee, as well as from some of the pros, including novelist/memoirist Walter Kirn (Up in the Air; Blood Will Out). Course text: The Writer’s Journey (3rd edition) by Christopher Vogler.


THE WRITER ’S WELCOME KITThis six-week e-course includes a 100-page course workbook, audio interviews with writers, templates for writerly processes, 100 bookmarks to helpful sites for writers, 100 flashcards, 100 writing prompts, and more. “An incredible resource for writers, especially those coming up to speed in the competitive and ever-changing business climate of publishing.” – Jennie Shortridge, author of Love, Water, Memory

General: $149 | Member: $134.10

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FICTION Iwith Susan MeyersWhether you’re looking to write stories or a novel, this course will introduce three key elements of fiction: character, plot, and landscape. Alongside published examples and writing prompts in and out of class, you will write a short story and learn the basics of the workshop model.

Six sessions | Thursdays, Sept 27–Nov 8 [No class Oct 18] | 5–7 pmGeneral: $295 | Member: $265.50

FICTION IIwith Cara DiaconoffThis class will build upon craft learned in Fiction I. We will focus on point of view, scene construction, and dialogue through reading published examples, writing prompts, and workshop of each other’s writing.

Eight sessions | Mondays, Sept 24–Nov 12 | 5–7 pmGeneral: $375 | Member: $337.50

Feel confident in progressing through your writing in one of our tiered classes. Each course is designed to equip you with the appropriate tools, skills, and an understanding of the diverse voices at work in each genre. You may self-select into classes based on where you feel comfortable and you are welcome to take classes as many times as you would like. Select courses are also available online; see page 7 for listings.

TIERED CLASSES

GENERAL

WRITING FICTION THAT DARESwith Sonora JhaAll Levels | Does your plot hold your reader’s heart? Are your characters taking risks, maybe even being downright obnoxious? Does your dialogue sing? Do your scenes waltz along the pages? Over these eight weeks, we go deep and generate writing that will make your fiction break out of the ordinary, take flight, and soar. Through readings, writ-ing exercises, and workshopping, you will write new scenes and chapters (or revise existing ones), write a pitch/query letter, and construct a map for your project that will keep you powering through your work of fiction that dares.

Eight sessions | Tuesdays, Sept 25–Nov 13 | 5–7 pmGeneral: $375 | Member: $337.50

THE SENSORY ORIGINS OF FICTIONwith Joe PonepintoIntermediate | Characters who fully convey their sensory experiences make stronger connections with readers and re-sult in more effective fiction. This session reinterprets how writers can better use the physical senses to examine their characters’ emotional states, create character sympathy, and express deeper meaning in stories. Students will submit two stories to class for workshop and revision.

Eight sessions | Wednesdays, Sept 26–Nov 14 | 7:10–9:10 pmGeneral: $375 | Member: $337.50

STORYTELLING SECRETSwith Susan MeyersIntroductory/Intermediate | What’s the secret to good stories? This class takes you “behind the scenes” to reveal the surprising twists and turns that make stories great. Do you think your characters need to be likeable? trustworthy? Think again. Or that your plot needs a clear beginning/middle/end? Not always. The secrets to good storytelling aren’t difficult, though they may surprise you — and help you write you best story yet.

Eight sessions | Thursdays, Sept 27–Nov 29 [No class Oct 18 or Nov 22] | 7:10–9:10 pmGeneral: $375 | Member: $337.50

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NHOW TO BREAK HEARTSwith Richard ChiemAll Levels | Explore a variety of writing methods and approaches to create your most heartbreaking works of fiction. We will learn how to draw the reader in and make them fall in love with our characters and what tangible things we can do to make our stories turn on a necessary dime. With readings from Lorrie Moore, Jesse Ball, Mary Robison, Renee Gladman, and Katherine Faw, we will make our fiction a living, breathing thing. Students can expect very generative writing exercises, learning how to break down a scene, and the opportunity to be workshopped twice. You will come away from this workshop with a stronger sense of character and narrative, designed to your vision.

Six sessions | Wednesdays, Sept 26–Nov 7 [No class Oct 10] | 7:10–9:10 pmGeneral: $295 | Member: $265.50

WRITING DIALOGUEwith Alex MadisonAll Levels | As Elizabeth Bowen wrote, “Speech is what characters do to each other.” The best dialogue is the nastiest: the sharpest, the most conflict-driving, the most layered and fraught, the truest to our contemporary experience of inattention and misunderstanding. We’ll look at how good dialogue cuts, examining scenes by Joan Didion, Justin Torres, Jamel Brinkley, and others. You’ll bring a dialogue-driven scene to class and have the opportunity to sharpen it — and, should you feel so inclined, to share it.

One session | Sunday, Oct 14 | 10 am–1 pmGeneral: $89 | Member: $80.10

EXPLORING GENRE THROUGH JORGE LUIS BORGESwith John EnglehardtAll Levels | For writers interested in magical realism, fantasy, and the metaphysical, this class will look closely at the short stories of Argentine writer Jorge Luis Borges. Through lecture, discussion, and generative writing exercises, we’ll explore what sets his stories apart as works of fiction, emphasizing his use of the following devices: the work within the work, the contamination of reality by dream, the voyage in time, and the double.

Four sessions | Sundays, Oct 21–Nov 11 | 1–3 pmGeneral: $235 | Member: $211.50

THE ROLE OF PLACE IN FICTIONwith Joe PonepintoIntermediate | Place in creative writing is much more than setting, time frame, and description. When written well, place provides a sense of regional and cultural nuance that helps shape characters into real people and makes the world of the story more believable. This class will review examples from literature of how place is integrated into fic-tion, and then lead students through revisions of their work to enhance the effectiveness of the use of place. Students will be required to submit one story.

Four sessions | Wednesdays, Oct 24–Nov 14 | 5–7 pmGeneral: $235 | Member: $211.50

WRITING THE TV PILOTwith Michael ShillingIntermediate | In this course, we’ll discuss what makes an exciting and intriguing television pilot screenplay and cri-tique each other’s work. The first three weeks of the class will be seminar and discussion of a range of pilots — such as Mad Men, Atlanta, Game of Thrones, and Broad City — and the rest of the class will be devoted to workshop of your pilots-in-progress. We’ll also cover ways to market your series.

Eight sessions | Wednesdays, Oct 24–Dec 19 [No class Nov 21] | 7:10–9:10 pmGeneral: $375 | Member: $337.50

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TIME TRAVEL AND ALTERNATE REALITIES IN FICTIONwith BJ NeblettAll Levels | From the known to the speculative, from the sublime to the outlandish, we will discuss and investigate as a class what makes great sci-fi/fantasy writing when the theme is: What else is there and how do I get there? Along the way, we will discuss some of the great works of time travel and alternate realities.

Six sessions | Mondays, Nov 5–Dec 10 | 7:10–9:10 pmGeneral: $295 | Member: $265.50

MAPPING THE ILLOGICAL LANDSCAPEwith Diana XinAll Levels | Add the shadows to your fictional world. While we often plot a story from point A to B and onward, we neglect the subtext of space and the dimension of dreams. How do we use detail and objects to reflect what is beautiful and terrifying? How do we chart a character’s emotional journey? By studying stories that expand into large emotional territory from small confined spaces, we will consider ways to enrich the illogical landscape of a story.

Two sessions | Saturday, Sunday, Nov 10 & 11 | 10 am–1 pmGeneral: $172 | Member: $154.80

NARRATIVE TIME TRAVELwith John EnglehardtAll Levels | Joy Williams says that stories are concerned with the “dark encroachment of old catastrophes.” This class will look at stories that rely heavily on synthesizing the past, present, and future and approach fiction from a non-lin-ear perspective. We’ll explore the nature of flashbacks, flash-forwards, and drastic leaps in time. Authors we may read include Jennifer Egan, Mary Gaitskill, and Alice Munro.

Two sessions | Saturday, Sunday, Dec 1 & 2 | 10 am–1 pmGeneral: $172 | Member: $154.80

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GENERAL

NOVELS

NOVEL PREPwith Laurie FrankelAll Levels | Even for very rough drafts, you need a good sense of where you’re going and how to get there before you start. But how do you decide where you’re going until you meet your characters, hear their voices, and write/play/get lost a bit? This class is novel prep. It will get you ready to start writing your novel, for NaNoWriMo or otherwise. Please bring a book idea to work on.

Six sessions | Mondays, Sept 24–Oct 29 | 5–7 pmGeneral: $295 | Member: $265.50

NOVEL OUTLINE BOOTCAMPwith Jarret MiddletonAll Levels | Get that full-length fiction outline into shape. By taking a deeper look at the structural building blocks of the novel — plot, characters, conflict, resolution, and metaphor — we will work together to define the story you are meant to tell. Whether you come to class with a partial draft or nothing more than a rough idea, you will leave this boot camp with a clear vision and achievable plan for completing your next novel.

Eight sessions | Tuesdays, Sept 25–Nov 13 | 7:10–9:10 pmGeneral: $375 | Member: $337.50

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NOVEL IMMERSIONwith Waverly FitzgeraldAll Levels | Designed to complement National Novel Writing Month (NaNoWriMo), this popular class will set your course for writing a novel, which you can pursue at the pace you prefer. Using in-class writing exercises and home-work assignments, you’ll devise a plot, develop characters, choose a point of view, create vivid settings, and begin writing your novel. The very ambitious will finish a rough draft of 50,000 words.

Six sessions | Wednesdays, Oct 24–Dec 5 [No class Nov 21] | 5–7 pmGeneral: $295 | Member: $265.50

HOW TO START A NOVEL YOU CAN ACTUALLY FINISHwith Jennifer HaighAll Levels | Jennifer Haigh is the author of five novels, each of which nearly killed her. She is also the author of three unfinished and unfinishable manuscripts — woefully ill-conceived stories that will never see the light of day. In this session, she will discuss which strategies worked and which ones didn’t. Topics will include: How to tell the difference between a novel and a short story; the most important choice a novelist makes; plot vs. causality; and more. Bring something to write with and all your questions about novel-craft. Whether you have a brand-new idea for a novel or have been working on one for years, you can expect to leave with concrete strategies to move your project forward.

One session | Saturday, Oct 27 | 1–4 pmGeneral: $89 | Member: $80.10

SHORT STORIES

SHORT STORY GENERATORwith Beth SlatteryAll Levels | Know you want to write fiction, but aren’t sure how to get started? Written before but are feeling stuck? This generative class will help you find ideas, locate plot, build dramatic tension, and enhance characters that attract readers. Students can “choose their own adventure,” either working on a single story for the duration of the class or multiple stories/story ideas. We will read, discuss, offer on-the-spot feedback, and we will write – a lot. Students can expect extensive, supportive instructor critique.

Eight sessions | Mondays, Sept 24–Nov 12 | 5–7 pmGeneral: $375 | Member: $337.50

FINDING YOUR VOICE IN CHILDREN ’S WRITINGwith Clelia GoreIntroductory | Voice is one of the most important and often the most elusive element of writing for middle grade and young adult audiences. This class will break down what constitutes a strong voice in children’s literature, provide instructive examples, and incorporate exercises to help develop a writer’s voice.

One session | Saturday, Oct 27 | 10 am–1 pmGeneral: $89 | Member: $80.10

YOUNG ADULT

Looking for advanced courses? See pages 23–25.

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CREATIVE NONFICTION Iwith Anne Liu KellorThis class will help you decide the best way to tell the nonfiction story you want to tell. Together, we will write and share from generative prompts, read a diversity of essays, and investigate our own personal stories. We will learn to ask, What is this piece about?, and to explore craft elements like scene, reflection, points of view, and form. Students will be introduced to the workshop model and may submit a piece to the instructor for extensive feedback.

Six sessions | Tuesdays, Sept 25–Nov 6 [No class Oct 23] | 7:10–9:10 pmGeneral: $295 | Member: $265.50

CREATIVE NONFICTION IIwith Beth SlatteryThis class is for anyone wishing to build upon skills learned in Creative Nonfiction I, or those already familiar with the basics of the genre including description, points of view, reflection, scene, and form. Each week we will use generative writing, reading, and workshop to develop techniques and enhance the quality of the work you produce. Students will generate 20-25 pages, which will be shared in workshop and receive extensive instructor feedback.

Eight sessions | Mondays, Sept 24–Nov 12 | 10 am–12 pmGeneral: $375 | Member: $337.50

TIERED CLASSES

GENERAL

TRAVEL WRITING COMPREHENSIVEwith Lora ShinnAll Levels | If you dream of becoming a jet-set blogger, working travel writer, or award-winning travel memoirist, pro-fessional tools and techniques are your ticket to success. By course’s end, students will have crafted a compelling blog post, essay, article, and feature. We’ll also cover business basics — from pitch to publish — and whether to accept those offers of free trips.

Six sessions | Tuesdays, Sept 25–Oct 30 | 5–7 pmGeneral: $295 | Member: $265.50

INCORPORATING RESEARCH AND DATA INTO NONFICTIONwith Kevin O'RourkeAll Levels | During this workshop, students with experience in creative nonfiction will further explore the genre by reading work that incorporates research, data, and other sources. Students will write and share their work while discussing texts. We will also discuss research methods and resources, citations, and how to add quantitative data to stories in compelling ways. Class work will include discussing reading (e.g., John McPhee, Amy Leach, Ta-Nehisi Coates), and producing a creative portfolio. Students will produce several medium-length essays culminating in a final long-form piece of writing incorporating research.

Four sessions | Thursdays, Sept 27–Oct 18 | 7:10–9:10 pmGeneral: $235 | Member: $211.50

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WRITING LITERARY JOURNALISMwith Gail FolkinsIntroductory/Intermediate | This session explores creative nonfiction with an emphasis on literary journalism, one of the most popular and versatile writing genres today. Combining analysis with creativity, literary journalism blends re-portage with a personal narrative or angle. We will explore this genre through a combination of discussion, readings, and writing and workshop of two pieces: a short personality profile and a medium-length work of literary journalism. We will also discuss application of this genre in journals, magazines, newspapers, and online publications.

Six sessions | Thursdays, Oct 4–Nov 8 | 7:10–9:10 pmGeneral: $295 | Member: $265.50

WRITING MOTHER AND CHILDwith Anne Liu KellorIntroductory/Intermediate | Anxiety. Guilt. Sacrifice. Exhaustion. Joy. Humor. Insight. Change. Motherhood encompasses a huge range of layers, phases, and emotions. Each week, we will read and discuss contemporary essays and memoirs, alongside writing and sharing from in-class freewrites. Prompts will focus on our own motherhood experiences, but also examine our relationships to our own parents. We will experiment with point of view and form, learn about publication resources, and optionally submit a final essay for feedback. Mothers of all ages are welcome.

Ten sessions | Thursdays, Oct 4–Dec 20 [No class Oct 25, Nov 22] | 10:30 am–12:30 pmGeneral: $460 | Member: $414

GET ME BODIEDwith Angela GarbesAll Levels | Everything we do and feel, and therefore everything we write about, is first experienced through our bodies. Being able to craft visceral prose that is rooted and felt in the body will make your nonfiction writing more impactful and emotionally resonant with your audience. In this class, we’ll read and take inspiration from memoir, food, science, and travel writing — as well as our own workshopped pieces — to explore the ways embodied prose can strengthen our future work.

Eight sessions | Thursdays, Oct 18–Dec 13 [No class Nov 22] | 5–7 pmGeneral: $375 | Member: $337.50

WHERE DOES IT ALL END?with Christine HempAll Levels | In love and in writing, closure isn’t easy. (Just leave quietly? Conclude with a howl?) Using established writers as guides, we’ll address your current nonfiction piece and generate various ways to approach “finis.” You’ll learn where imagery and metaphor can do some heavy lifting, how less is often more, and why urgency propels the reader toward the final exit. You’ll leave this class with a new ending and light at the end of your tunnel.

Two sessions | Saturday & Sunday, Oct 20 & 21 | 10 am–4 pmGeneral: $295 | Member: $265.50

THE NONFICTION BOOK PROPOSALwith Nicole HardyIntermediate | Writers of nonfiction books (including memoir) often need a book proposal to attract agents and publishers. But writing this marketing tool is very different from writing the book itself. This class will give you the information you need to structure your proposal, using examples from books in several genres that sold this way. You’ll be given prompts and assignments to help you identify your readers, analyze your competition, and gather what you need to complete your proposal. Recommended for nonfiction writers who have a clear book idea as well as those with a complete first draft.

One session | Saturday, Nov 17 | 1–5 pmGeneral: $120 | Member: $108

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RESEARCHING AND WRITING TRUE CRIMEwith Rebecca MorrisAll Levels | Whether a fifty-year-old case or a present-day one, writing about crime is different than any other genre. We’re fascinated with crime (there are hundreds of network and cable TV programs about crime) but the truth is it is ugly and complicated. As Agatha Christie said, the crime itself is the end of the story — an author must learn why it happened, how it affected the community, and the context in which it happened. This class will also address how to obtain documents, research cold cases, find sources, conduct interviews, and how true crime writing uses storytelling techniques.

Four sessions | Wednesdays, Nov 28–Dec 19 | 5–7 pmGeneral: $235 | Member: $211.50

UNLEASHING THE HEALING POWER OF PERSONAL NARRATIVEwith Ingrid RicksAll Levels | In this hands-on narrative-writing workshop, New York Times-bestselling author Ingrid Ricks draws on lessons learned from writing her story and working one-on-one with more than a thousand students to help you unleash the power of personal narrative — and finding healing along the way. You’ll learn how to identify and struc-ture the personal story you need to tell and how to bring it to life through six different in-class writing assignments. Workshop includes individual ten-minute story structure sessions.

One session | Saturday, Dec 1 | 10 am–4 pmGeneral: $172 | Member: $154.80

PITCH LABORATORY with Madeline OstranderIntroductory/Intermediate | To publish nonfiction in any commercial journal and many literary ones, you must learn the art of the pitch. To pitch is to distill a story to its fundamentals. In few words, you must conjure plot, characters, and structure so that your editor trusts you to grow this story into a robust narrative. In this workshop, students will bring their story ideas to life in pitch form in order to entice editors and open opportunities for publishing new work.Two sessions | Sundays, Dec. 2 & 9 | 1–5 pmGeneral: $172 | Member: $154.80

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THE MICRO ESSAYwith Anna VodickaAll Levels | Between Twitter and wall feeds, blogs and Brevity, some of the most exciting contemporary writing is happening in the space between 140 characters and 1,000 words. In this generative course, we’ll explore the ranges of short-form nonfiction, learn how restraint and constraint can enhance the power of prose, and practice the art of economy in our own micro essays inspired by readings and prompts.

Six sessions | Thursdays, Oct 11–Nov 15 | 5–7 pmGeneral: $295 | Member: $265.50

THE MOST PERSONAL ESSAYwith Nicole HardyAll Levels | We’ll study, write, and workshop short essays that delve deeply into the first-person point of view, focus-ing on structure, narrative voice, and scene in order to cultivate vulnerability without self-indulgence, pathos without sentimentality, sharing without oversharing. Students will receive one-on-one editorial advice as well as critique from fellow students as they prepare essays to submit for publication.

Eight sessions | Sundays, Oct 14–Dec 9 [No class Nov 25] | 1–3 pmGeneral: $375 | Member: $337.50

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OWNING THE NASTY: WRITING THE PERSONAL SEX ESSAYwith Katherine StandeferIntermediate | How do we make meaning from our sexual experiences? What do our personal stories have to offer the world, and what is the best way to share them? In this bawdy and introspective intensive, writers will work to build strong connective tissue between their own sexual stories and larger questions about sex that our culture is grappling with. Participants will explore their histories through unconventional exercises and discuss the craft of authors like Cheryl Strayed, Silas Hansen, and Lidia Yuknavitch.

Two sessions | Saturdays, Oct 27 & 28 | 10 am–5 pmGeneral: $295 | Member: $265.50

MEMOIR

PLOT IN MEMOIR: DEVELOPING THE ART OF YOUR STORYwith Nicole HardyIntermediate | Students will outline their memoirs and write critical scenes as we explore the intersection of the hero’s journey and the three-act narrative. We’ll study the difference between situation and story, working unwieldy experiences into narrative arcs. A class for those struggling with the “where to begin” and the “which parts to tell,” those hoping for a better understanding of story structure, and/or those wondering which will suit their story best: an experimental or a traditional form.

Sixteen sessions | Sundays, Oct 14, 2018–Feb 24, 2019 | 10 am–12 pmGeneral: $736 | Member: $662.40

KICK-STARTING THE MEMOIRwith John MarshallAll Levels | This is a popular class with proven results, aimed at those who want to write a memoir or have begun one and are stalled. Each week requires an essay of 300 words providing important building blocks for memoir. These essays are read aloud and critiqued in class; also critiqued in writing by the instructor. Weekly reading assignments from two helpful guidebooks (Judith Barrington, William Zinsser) provide memoir insights and inspiration. A con-vivial class atmosphere is encouraged and highly valued.

Six sessions | Thursdays, Nov 1–Dec 13 [No class Nov 22] | 7:10–9:10 pmGeneral: $295 | Member: $265.50

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WRITING WHAT MATTERSwith Chavisa WoodsAll Levels | The first half of this workshop with award-winning author Chavisa Woods will engage students in a writing exercise guaranteed to strengthen the impact of narrative writing and get students who may be blocked writing again. The second half of this workshop will include an interactive session on understanding the small press landscape, creating cover letters, getting involved in literary communities, and submitting works for publication, including a Q&A with the instructor.

One session | Saturday, Sept 29 | 1–4 pmGeneral: $89 | Member: $80.10

MAKE IT NEWwith Ruth JoffreAll Levels | Ezra Pound once wrote, “Make it new.” In this class, we’ll learn how to break down familiar plot lines, avoid cliché, and do away with tired prose. Students will use these techniques to produce a piece of fresh, innovative prose.

Two sessions | Tuesdays, Sept 25 & Oct 2 | 7:10–9:10 pmGeneral: $120 | Member: $108

BUILDING THE STORYwith Chavisa WoodsAll Levels | Award-winning author Chavisa Woods will lead this generative writing workshop focusing on writing with impact, creating tension, engaging the reader, becoming aware of story structure, narrative arc, choosing a per-spective, understanding character relationships, and equipping writers with new tools to build a meaningful narra-tive.

Four sessions | Mondays & Wednesdays, Sept 24–Oct 3 | 7:10–9:10 pmGeneral: $235 | Member: $211.50

SPECULATIVE NONFICTION: STORIES OF THE HISTORICAL FUTUREwith Kathleen AlcaláIntroductory | This is a chance to explore speculative ideas with a supportive professional writer of fiction and nonfic-tion, and an extensive background in research and interviewing. We will brainstorm ideas, explore a couple in depth, and compile a list of resources. The focus is environmental, speculative nonfiction — what will the world look like in a few years? Most predictions are apocalyptic. Now as much as ever, we designate The Other as competition, but such thinking discourages innovative solutions.

Six sessions | Sundays, Sept 30–Nov 4 | 10 am–12 pmGeneral: $295 | Member: $265.50

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PUBLISH OR PERISH: PITCHING YOUR WORKwith Amee BhavsarAll Levels | In this jump start for new and mid-career freelancers, we will open up the latest in our folders of stories, essays, and poems for constructive feedback. We’ll workshop two works (and pitches for each) per student and discuss the ways to best approach agents — literary, talent, and public speaking. In-class discussions will include writing feedback, agent approach, and correspondences. We’ll talk about generating pitch ideas, building a portfolio, talking to editors, sending cold pitches, developing editorial relationships, and networking.

Six sessions | Sundays, Oct 7–Nov 18 [No class Nov 4] | 1–3 pmGeneral: $295 | Member: $265.50

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CHAOTIC , INCONVENIENT, BEAUTIFUL HUMANSwith Sonya LeaIntermediate | A workshop for getting to the heart of the beautiful humans of your story. How do we locate our characters? How do we source what’vs essential in the telling? How do we write with an attunement to empathy and wholeness in every character? This workshop will be helpful for novelists, short story writers, and writers of personal narrative who want to learn how to add greater nuance, chaos, and complexity to their characters.

One session | Saturday, Oct 6 | 10 am–4 pmGeneral: $172 | Member: $154.80

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WRITING SNAPPY OPENINGSwith Nicholas O’ConnellIntroductory/Intermediate | The opening is the most important part of the story. If your lead is not interesting, in-triguing, or entertaining, the reader may never get any farther. This class will introduce you to the five best leads for opening a story or book: summary, scenic, anecdote, inventory, and beginning at the end. Class will include lecture, discussion, and in-class writing of a lead.

One session | Sunday, Oct 7 | 1–4 pmGeneral: $89 | Member: $80.10

THE ANATOMY OF A SENTENCEwith Tara Atkinson & Katie Lee EllisonAll Levels | Students will find, read, examine, diagram (don’t worry, we’ll help!), imitate, and draft great sentences. We’ll start small with shorter, simpler sentences until everybody is good and comfortable identifying sentence parts; then, we’ll go big, combining varied sentence structures to produce vibrant paragraphs. No project needed — use the exercises from this class to get your creativity flowing or simply to explore your love of language.

Four sessions | Mondays, Oct 8–29 | 7:10–9:10 pmGeneral: $235 | Member: $211.50

POINTS OF VIEWwith Waverly FitzgeraldIntroductory/Intermediate | Write six stories (or one story told six ways) to explore point of view. Try out first-, second-, and third-person narrators, as well as more subtle choices like the unreliable narrator, retrospection, omni-science, and shifting points of view.

Six sessions | Mondays, Oct 8–Nov 12 | 7:10–9:10 pmGeneral: $295 | Member: $265.50

FINDING AND FREEING YOUR VOICEwith Mary PotterAll Levels | Voice breathes life into writing, makes it sing, and draws readers in. Defining voice is difficult, but you can learn how it works by practice-writing in different voices. We’ll read diverse voices and complete six exercises designed to help you find a more authentic writer’s voice, free your voice, control tone, and generate new work. Dare to break out of your habitual voice, subvert the dominant voice in your head, and risk writing in unfamiliar, odd, or wild voices.

Six sessions | Wednesdays, Oct 10–Nov 14 | 5–7 pmGeneral: $295 | Member: $265.50

A FIELD RESEARCHER ’S GUIDE TO AUTHORITATIVE STORYTELLINGwith Kristen Millares YoungAll Levels | We will infuse narrative with lyric accuracy through careful study of the world. We’ll read Didion, Anz-aldúa, Yamashita, Solnit, Washuta, Lebo, Alexander, Lorde, Biss, Grover, Messitt, and Winterson. Guided by timed prompts based on these writers’ finest works, we will produce new writing during generative in-class workshops. Remember: research buoys a story like water carrying a boat. Keep it moving to stay afloat.

Ten sessions | Tuesdays, Oct 16–Dec 18 | 7:10–9:10 pmGeneral: $460 | Member: $414

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WRITING THE NEW SEATTLEwith Charles MudedeAll Levels | Seattle has changed a lot over the past seven years. Its population has risen, many of its neighborhoods have been gentrified, and working-class people have been displaced. What do these changes mean? And, most im-portantly, how can we write about them? Does this new Seattle demand a new language? This class will explore these questions in two ways. One, by examining the literature of other cities that experienced sudden tremendous change (for example, Second Empire Paris); and, two, writing workshops that produce our own new texts (poems, personal essays, short fiction) about this tumultuous moment.

Six sessions | Mondays, Nov 5–Dec 10, 7:10–9:10 pmGeneral: $295 | Member: $265.50

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PROSE & POETRY

CREATING TENSION IN PROSEwith Becky MandelbaumAll Levels | Tension is one of the main driving forces of narrative — it’s the thing that keeps the reader turning the page, the addictive quality that makes people stay up past their bedtime to see what happens next. In this course, we’ll explore how tension works in relation to plot, narrative arc, character development, and pacing, looking at ex-amples from stories like Carmen Maria Machado’s “The Husband Stitch” and essays like Lidia Yuknavitch’s “Woven.” Through in-class exercises and games, we’ll work on how to build, maintain, and finally relieve tension, whetherit’s over the course of a short scene or epic novel.

Four sessions | Saturdays, Oct 27–Nov 17 | 10 am–12 pmGeneral: $235 | Member: $211.50

THE WORDS TO SAY IT: WRITING ABOUT ILLNESS, TRAUMA , AND HEALINGwith Suzanne EdisonAll Levels | By focusing on the craft of writing, we can transform personal experience into art. Readings will include excerpts from: Poetry in Medicine, The Healing Art: A Doctor’s Black Bag of Poetry, Poetry as Survival, and Beauty Is a Verb, as well as the work of Alicia Ostriker, Lucia Perillo, Susan Sontag, Lucille Clifton, Anatole Broyard, and Kevin Young, among others. Each week there will be readings, discussion, and writing prompts. There will be time to receive feedback after the first class.

Six sessions | Mondays, Oct 1–Nov 12 [No class Oct 22] | 7:10–9:10 pmGeneral: $295 | Member: $265.50

WRITING ALONGSIDE MARY SHELLEY & PERCY BYSSHE SHELLEYwith Deborah WoodardAll Levels | We’ll read the poetry of major Romantic poet Percy Bysshe Shelley, as well as the original 1818 version of Mary Shelley’s Frankenstein. We’ll see how the Shelleys shared a common vision of social and political liberation and explore the ways in which their visions differed. Weekly readings and writing prompts. Required texts (available from Elliott Bay Book Company): Percy Bysshe Shelley: Selected Poetry and Prose (Penguin Classics, 2016) and Mary Shelley’s Frankenstein (Bantam, 2003).

Eight sessions | Saturdays, Sept 29–Nov 17 | 10 am–12 pmGeneral: $375 | Member: $337.50

ARCHITECTURAL STORIESwith Anca SzilágyiAll Levels | Haunted houses, hovels, brutalist towers, impossible dream homes. In this generative workshop, we’ll use architecture as a launchpad for new writing, drawing from memory, history, and imagination. Texts by Jorge Louis Borges, John Updike, Shirley Jackson, and Kate Bernheimer will offer food for thought and additional inspiration. Students will have the opportunity to share their work for peer and instructor feedback.

Two sessions | Saturday, Sunday, Nov 10 & 11 | 10 am–12 pmGeneral: $120 | Member: $108

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WRITING WITH RUSSIAN FAIRY TALESwith Shankar NarayanAll Levels | In Russian fairytales, the world is literally a fantastic place where anything can happen. Venal tsars, card-playing dragons, man-eating cats, dancing geese, and all manner of fools, princesses, phoenixes, devils, and witches populate this space. Fatalism, feasting, trickery, and violence abound. As it turns out, this lively mix also makes for great inspiration for writing! In this generative class, we’ll look at classic Russian fairytales such as “Go I Know Not Where, Fetch I Know Not What,” “Fenist the Falcon,” “Vasilisa the Beautiful,” and others, and riff off them to create our own fiery pieces. Come ready to write!

Two sessions | Saturday, Sunday, Oct 6 & 7 | 1–4 pmGeneral: $172 | Member: $154.80

WRITING WITH RICHARD HUGOwith Carolyne WrightAll Levels | Northwest native Richard Hugo was a renowned poet and teacher in Seattle, Iowa, and the famous Montana MFA Program. Besides inspiring this newly rebuilt House which bears his name, Hugo was a powerful storyteller on the page and in person, and he gave us his imagination’s “triggering towns.” In this course modeled on his example, we will read his work and tell our own stories in prose and poetic form.

Eight sessions | Mondays, Oct 1–Nov 19 | 7:10–9: 10 pmGeneral: $375 | Member: $337.50

MAGAZINES AS MUSE: MODELS AND MARKETS FOR YOUR WORKwith Carolyne WrightAll Levels | Literary journals often provide our first models of published work, and also the markets to which we submit our own work. Using recent issues of well-respected local and national literary magazines as models, we will read work published in them (poems, nonfiction prose, short fiction), and generate prompts from this work as writing exercises for the workshop. You may also submit some of your own work to these magazines — these magazines, and others like them, are your markets!

Six sessions | Tuesdays, Oct 9–Nov 13 | 5–7 pmGeneral: $295 | Member: $265.50

NO FIXED ADDRESS: VOICES OF HOMELESSNESSwith Jeff Encke & Cassandra HunterAll Levels | Public discourse about the plight of homelessness has been fraught lately. But in the midst of fierce policy battles over how to resolve the crisis, where do people who are actually homeless come in? What authority do they have to represent their conditions? This course will try to answer those questions by examining narratives by and about people experiencing homelessness. Class discussions will revolve around readings from interviews, ethnogra-phies, news clips, stories, poems, and excerpts from memoirs and novels.

Six sessions | Saturdays, Oct 13–Nov 17 | 10 am–12 pmGeneral: $295 | Member: $265.50

THE WRITER ’S NOTEBOOKwith Diana RaabAll Levels | Keeping a notebook is an important part of a writer’s toolkit. It’s a place to work out creative ideas, practice writing styles, and tap into your inner muse. Your notebook’s contents may serve as a springboard for poems, stories, essays, and full-length books. Through discussion and writing prompts, you will learn how to effectively use a journal. This course will also offer ideas on how to transform notebook entries into publishable and compelling work. Open to emerging and published writers.

Two sessions | Saturday, Sunday, Oct 6 & 7 | 10 am–1 pmGeneral: $172 | Member: $154.80

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PROSE & POETRY

METAPHOR IN THEORY AND IN PRACTICEwith Kascha Semonovitch & Roger GilmanIntroductory/Intermediate | To craft powerful metaphors, writers need a deep understanding of how metaphors work. In this co-taught workshop, we’ll discuss metaphor theory by Black, Lackoff & Johnson, and Ricouer, and look at ex-amples of metaphor in poets like Auden, Donne, Graham, Stevens, and Szymborska. We’ll ask: How does metaphor work in the reader’s mind? Is metaphor conceptual or ornamental? What is gained with metaphor or lost without it? Students will generate metaphors in poems or flash fiction workshopped in our final session.

Six sessions | Sundays, Oct 28–Dec 2 | 1–3 pmGeneral: $295 | Member: $265.50

OULIPO: THE CREATIVE BEAUTY OF CONSTRAINTSwith Erich SchweikherAll Levels | Founded in France in the 1960s, Oulipo (loosely translated to “workshop of potential literature”), unites language with mathematics to create constrained writing defined by set structures or patterns. The constraints are a means to trigger ideas that may otherwise be ignored during the traditional writing process. This course will focus on one constraint each week. Possible constraints: lipograms, univocalism (writing that excludes all but one vowel), sonnet palindromes, and snowball (writing in which each successive word is a letter longer).

Six sessions | Mondays, Nov 5–Dec 12 | 7:10–9:10 pmGeneral: $295 | Member: $265.50

SEASONAL AFFECTIVE: WRITING THROUGH THE SEASONSwith Sierra NelsonAll Levels | In Seattle, we are especially aware of the shifts in seasons: how much rain, sun, expansiveness of days, swallowing depths of nights. Together, we’ll harness all the ways the seasons affect us to write through the dark and back into light again using science, memory, experiment, and seasonally affected texts (such as Stevens, Glück, Dove, O’Hara) for inspiration. Let this generative class be the lightbox to your notebook’s doldrums. Slanted toward poetry but open to all genres.

One session | Sunday, Oct 14 | 1–5 pmGeneral: $120 | Member: $108

FINISH YOUR CHAPBOOKwith Anastacia-ReneeIntermediate | Whether you have a poetry or prose chapbook in progress, have a completed chapbook, or lots of work you’d like to make into a chapbook, this class is for you. We will edit, workshop, cut out, pull in, create, format, and pull together your chapbook so that it’s in the most polished state to submit!

Four sessions | Tuesdays, Nov 13–Dec 4 | 10 am–12 pmGeneral: $235 | Member: $211.50

MIND THE GAPwith Sarah DowlingAll Levels | Have you ever searched for the perfect word, only to realize that there is no word for what you want to describe? This course uses “lexical gaps” — phenomena for which no word exists in English — as springboards to new writing. We’ll begin by identifying lexical gaps that interest us: there is no word for the act of gazing into the distance, nor for a parent who loses their child. Together, we’ll write about unnamed events, states, and things. Most writing will happen in class, with some light exercises between meetings. Students will leave the course with new strategies for generating work, as well as several well-developed drafts.

Four sessions | Thursdays, Oct 18–Nov 8 | 7:10–9:10 pmGeneral: $235 | Member: $211.50

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MINDFUL WRITINGwith Anna VodickaAll Levels | We’ll explore writing as a contemplative practice: one that can center and ground us in the midst of chaos and distraction, activate awareness and acceptance, and radically transform experience. Using the principles of mind-fulness, we’ll start with a guided meditation, then move into reading and exercises designed to activate our senses, focus our attention, and inspire new writing in a judgment-free zone. No meditation or writing experience necessary.

One session | Thursday, Nov 29 | 6–9 pmGeneral: $89 | Member: $80.10

POETRY

POETRY Iwith Sierra NelsonWhether a beginning poet or lover of the art, this class will introduce you to the beauty and complexity of writing and reading poetry, as well as the basics of the workshop model. We will look to image, metaphor, sound, lineation, and structure to write our own poems.

Six sessions | Saturdays, Sept 29–Nov 3 | 1–3 pmGeneral: $295 | Member: $265.50

TIERED CLASSES

GRAPHIC FORMS

COMICS: TAKING IT TO THE NEXT LEVELwith David Lasky & Greg StumpAll Levels | You've written and drawn a few (or several) pages of comics, and now you’d like to take it further? Two expert cartoonists take you in new directions with a variety of challenging assignments and insightful lectures. You will begin at least two short comics in every class with the option of continuing on your own. Expect some intense but very fun sessions resulting in lots of new material.

Six sessions | Saturdays, Oct 6–Nov 17 [No class Nov 3] | 1–3 pmGeneral: $295 | Member: $265.50

POETRY IIwith Keetje KuipersIn this intermediate workshop, we will be broadening our poetic horizons through in-class reading and writing, and discovering our own personal writing goals — be that mastering a craft skill or publishing a poem in a literary magazine. We will also be reading each other’s work with a keen eye, not only to improve these individual poems, but also in order to acquire the invaluable skill of revision as something that can be practiced on your own outside of workshop.

Eight sessions | Wednesdays, Oct 17–Dec 19 [No class Oct 31 or Nov 21] | 5–7 pmGeneral: $375 | Member: $337.50

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THE REAL NEWS IN POEMSwith Kim StaffordAll Levels | The news is abrasive because it’s incomplete. It’s the bitterness without the coffee, the salt without the pickle, the acid without the balsamic glaze aged ten years in oak barrels in Tuscany. It is the poet’s job to turn fact into food, loss into learning, and pain into song. In this workshop, we will talk back to facts that leave us hungry by writing poems that nourish. This class has an hour lunch.

One session | Friday, Dec 7 | 9 am–4pmGeneral: $172 | Member: $154.80

TIME TRAVELING AND TIME KEEPING: CONVERSATIONS WITH AUDRE LORDEAND OCTAVIA BUTLERwith Anastacia-ReneeAll Levels | In this course, we will be in conversation with Audre Lorde and Octavia Butler. We will write and exam-ine multigenre writing and poetic craft elements to build poems that bend, restructure and reimagine form. We will be creatively inspired by the notion that “paranormal” is normal and traditional fiction can inhabit a poem. The goal for all workshop participants is to complete the course with 1-2 second-draft poems and confidently share what you’ve written. Texts for this class will be provided.

Four sessions | Thursdays, Nov 29–Dec 20 | 7:10–9:10 pmGeneral: $235 | Member: $211.50

POETY FROM STAGE TO PAGEwith Amber FlameAll Levels | This workshop is for performance poets to develop their collection for the page, either in developing a manuscript or for individual submissions to journals. We’ll utilize form and structure, line and stanza breaks, and space and repetition to translate strong performance pieces effectively on the page. In-class assignments will include readings from the work of poets known for their stage and page presence such as Danez Smith, Airea Matthews, and Rachel McKibbens.

Six sessions | Sundays, Nov 4–Dec 16 [No class Nov 25] | 1–3 pmGeneral: $295 | Member: $265.50

POEMS THAT CONNECT USwith Cody PherigoAll Levels | In this generative class, we’ll look at human-centric, or what I like think of as “social,” poems: opinionat-ed; curious; and concerned with human connection, potential, and prosperity. The class mimics speed dating: we’ll read and discuss an eclectic range of social poetry styles, then practice writing in that style. Poems will carry some or all of these characteristics: conversational, political, intimate, and slam. We’ll study poems by Kim Addonizio, Nikky Finney, Denice Frohman, Andrea Gibson, Joy Harjo, and Ross Gay.

Eight sessions | Thursdays, Sept 27–Nov 15 | 7:10–9:10 pmGeneral: $375 | Member: $337.50

ADVANCED POETRY WORKSHOPwith David WagonerAdvanced | The aim of this poetry workshop will be to help the students, regardless of age or previous experience, work toward writing the best poems they can write. The instructor will offer examples from poetry of the past and present and will ask the students to bring some examples from their own reading, but the main work will be cri-tiquing each other’s poems. The instructor will try to help reinforce the connections between sound, rhythm, and meaning and will make a number of suggestions about working methods, revision, and self-criticism.

Ten sessions | Sundays, Sept 30–Dec 2 | 10 am–12 pmGeneral: $460 | Member: $414

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In weekly meetings over the course of the 2018-2019 academic year, yearlong classes provide dedicated writers with an intensive path toward finishing a draft of a book.

Whether you are early in the writing process or already have a rough draft, these yearlong courses will help you set active, clear goals, as well as write and revise with intention. One-third of each course focuses on developing proficiency with the writing tools (craft elements) that you will need to use, and the remaining two-thirds are comprised of workshops and writing toward personally devised deadlines.

Yearlong classes in Prose, Memoir, and Young Adult Fiction include a full-day intensive publishing class on the book business and finding a market for your book. The class will feature guests, includ-ing literary agents, and other individuals from the publishing business.

It is okay to miss some classes because of trav-el. That said, students who get the most out of yearlong classes are often very dedicated to their writing, and are eager to develop a strong and steady writing practice as well as become part of a tightly knit cohort of writers.

YEARLONG IN SHORT STORYwith Ramon IsaoThe short story remains arguably the best medium through which a fiction writer hones her craft, and that’s exactly our aim. In this class, we will read, write, discuss, and critique short fiction with equal parts rigor and vigor. Ours isn’t some dry, lifeless affair — fiction’s too good for that. Instead, expect lively exchanges of ideas, stimulating writing prompts, and occasional baked goods. Also expect mind-blowing readings across a varied literary spectrum: George Saunders, Zadie Smith, Chimamanda Ngozi Adichie, Anthony Doerr, Carmen Maria Machado, Haruki Murakami, and many many more.

30 sessions | Tuesdays, Sept 25–May 28 | 7:10–9:10 pmGeneral: $1,380 | Member: $1,242

YEARLONG IN SCIENCE FICTIONwith Nisi ShawlIn this craft-focused class, we’ll discuss and work through methods of writing a speculative fiction story or novel of high literary quality. Topics covered will include (but won’t be limited to): worldbuilding; backstory; providing the telling detail; creating reader empathy; inclusion and diversity; voice and point of view; character arcs; outlining; set-ting up and depicting tensions; pacing; and constructing openings, complications, and resolutions. Part of each class will be spent doing helpful writing exercises, so plan to bring your laptops and/or notebooks.

30 sessions | Tuesdays, Sept 25–June 4 | 7:10–9:10 pmGeneral: $1,380 | Member: $1,242

YEARLONG IN YOUNG ADULT FICTIONwith Karen FinneyfrockThis class is open to those writing in any genre of fiction intended primarily for a teenage audience. Through reading assignments, lectures, in-class exercises, and workshopping your manuscript, you will learn to hone your voice, devel-op a clear narrative, and write compelling characters for young adult readers.

31 sessions | Wednesdays, Sept 26–May 29 | 7:10–9:10 pmGeneral: $1,550 | Member: $1,395

YEARLONG CLASSES

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SYEARLONG IN MEMOIRwith Theo NestorIn this craft-focused class, we will be discussing aspects of writing a memoir that has enduring value, including but not limited to: expanding your story to the universal and contracting it to the stunningly specific; generating material once you’ve clarified your story’s arc and themes; writing a scene, a chapter, a section; creating momentum; making your narrator a character; what to include and what to leave out; finding the connective tissue that makes a book cohere; how to open a memoir and how to end it. Part of each class meeting will be allotted to writing, so plan on bringing your laptops and/or notebooks to class. Please submit a project description on the class description page at hugohouse.org.

31 sessions | Tuesdays, Sept 25–June 4 | 5–7 pmGeneral: $1,550 | Member: $1,395

YEARLONG IN POETRYwith Bill CartyRussian filmmaker Andrei Tarkovsky wrote, “Diamonds are not found in black earth; they have to be sought near volcanoes.” In this yearlong poetry class, we’ll write poems that seek to tap into this artistic heat. We will workshop and revise these poems, while finding inspiration from both historical sources and contemporary poetry collections. Combining both workshop and generative exercises, the course will emphasize the development, critique, and inspira-tion for long-term poetic endeavors. Workshop experience required.

30 sessions | Wednesdays, Sept 26–June 5 | 7:10–9:10 pmGeneral: $1,380 | Member: $1,242

YEARLONG IN PROSEwith Peter MountfordThe class is deliberately not genre specific, and is open to writers of fiction and nonfiction in order to examine the principles that remain constant across different forms (as well as those that change). The models students look at will be from an array of contemporary literary fiction and nonfiction. Asked about his mission with this class, Mountford wrote: “I don’t want my students to feel hostage by the whims of inspiration, or the accident of talent. In my experi-ence, people who read and write a lot on a regular basis and frequently examine their choices on the page, these are the people who become better writers, and often end up getting published. Ultimately, I want students to gain control over the craft elements in their work, so that they can more easily write with intention.” More information on this course can be found on the class description page at hugohouse.org.

31 sessions | Tuesdays, Sept 25–May 28 | 7:10–9:10 pmGeneral: $1,550 | Member: $1,395

YEARLONG CLASSES

ADVANCED YOUNG ADULT & MIDDLE GRADE MANUSCRIPTwith Karen FinneyfrockThis course is open exclusively to writers who have already completed the Yearlong in Young Adult Fiction. This course will offer a booster of support and instruction to writers who are working toward completion of a manuscript through lecture and exercises in fiction, opportunities for peer feedback, and help with goal setting.

Ten sessions | Thursdays, Sept 27–Dec 20 [No class Nov 22, Nov 29, or Dec 6] | 5–7 pmGeneral: $460 | Member: 414

MANUSCRIPT COURSES

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ADVANCED MEMOIR MANUSCRIPTwith Theo NestorThe Advanced Memoir Manuscript course is open exclusively to writers who've taken the Yearlong in Memoir class (previously called the Yearlong Memoir Manuscript class). This course will offer a booster of support and instruction to writers who've started manuscripts in the Yearlong in Memoir class and are working toward completion of those manuscripts. This ten-week course will offer lecture and discussions on memoir and publishing topics, personal nar-rative skill development, opportunities for instructor and peer feedback, accountability for short-term and long-term goal setting, and manuscript-related writing prompts and writing time.

Ten sessions | Mondays, Sept 24–Dec 3 [No class Nov 19] | 5–7 pmGeneral: $460 | Member: 414

BOOK LAB

This full year of mentorship is for students who have completed a Yearlong class or have a complete manuscript ready for extensive feedback. Students will be part of an intimate cohort of fellow writers that work together and one-on-one with a qualified and accomplished writ-ing mentor to reach the final draft of their book. This program runs from September–August. Book Lab includes:

Ten-Week Class in Fall Quarter (Schedule Below)This course will provide the opportunity for Book Lab participants to get know each other and their individual book projects. During these ten weeks, you’ll address relevant topics and concerns surrounding your projects and be provided with writing prompts and writing time. By the end of this first quarter, you will have developed a detailed timeline for completing your manuscript through the following year.

Six Cohort MeetingsStudents and mentor meet once per month following the ten-week class to check in on manuscript completion/manuscript-edit completion timeline. Each meeting focuses on reviewing progress from one student in addition to general discussion.

Four One-Day ClassesYou may register for one free one- or two-session class per quarter over four quarters. Exclusions apply for some visiting writers.

Second ReaderStudents receive a full manuscript read by a second, outside reader.

One-on-One Meetings with MentorEach student receives four one-on-one meetings with mentor. One meeting follows a complete manu-script read by mentor.

Publishing IntensiveA full-day intensive publishing class on the book business and finding a market for your book. The class will feature guests, including literary agents, and other individuals from the publishing business.

Mentor: Peter MountfordTen sessions | Tuesdays, Sept 25–Dec 18 [No class Nov 20, Nov 27, or Dec 4] | 5–7 pm

General: $6,000 | Member: $5,400

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MANUSCRIPT CONSULTANTS

Receive writing guidance and advice from one of our writers-in-residence, free of charge. Writers-in-residence are available for appointments September 15–June 15. For more information, visit hugohouse.org, or write to one of our residents at the emails below.

Amber Flame is a writer, composer, and performer whose work has garnered residencies

with Hedgebrook, The Watering Hole, Vermont Studio Center, and YEFE NOF. Flame’s

original work has been published in diverse arenas, including Def Jam Poetry, Winter

Tangerine, The Dialogist, Split This Rock, Black Heart Magazine, Sundress Publications,

FreezeRay, Redivider Journal, and more. A 2016 Pushcart Prize nominee, Jack Straw

Writer, and recipient of the CityArtist grant from Seattle’s Office of Arts and Cultural

Affairs, Amber Flame’s first full-length poetry collection, Ordinary Cruelty, was recently

published through Write Bloody Press.

To schedule an appointment, email [email protected]

Kristen Millares Young is the author of Subduction, forthcoming on Red Hen Press in

spring 2020. An essayist and journalist, her work has been featured by the Guardian, the

New York Times, Crosscut, Hobart, Moss, City Arts Magazine, Pacifica Literary Review,

KUOW 94.9-FM, the Seattle Post-Intelligencer, the Miami Herald, the Buenos Aires

Herald, and TIME Magazine. Her personal essays are anthologized in Pie & Whiskey:

Writers Under the Influence of Butter & Booze (Sasquatch Books), a New York Times

New & Notable Book, and Latina Outsiders: Remaking Latina Identity (forthcoming on

Routledge). She teaches at Hugo House, the Port Townsend Writers’ Conference, and the

Seattle Public Library. Kristen serves as board chair of InvestigateWest, a nonprofit news

studio she co-founded in the Pacific Northwest.

To schedule an appointment, email [email protected]

Connect with one of our manuscript consultants — all experienced teachers and writers — to receive one-on-one guidance for your works in progress; applying for awards, residencies, or MFA programs; submitting to agents, magazines, or publishers; or other writerly concerns. Select consultants are also available for line and copy editing services. To see the full list of consultants and services offered, visit the Events & Programs page at hugohouse.org.

WRITE WITH HUGO HOUSE

Looking for ongoing inspiration, feedback, and ways to connect with other writers? Attend one of our free drop-in writing circles, presented in partnership with the Seattle Public Library. Bring something you’re working on, or just come ready to write. You will have the opportunity to share your work and get feedback — but only if you want to (no pressure). You can also use this time to increase productivity on your current work in prog-ress, surrounded by fellow writers. Write with Hugo House sessions take place at select Seattle Public Library Branches. For location and schedule information, visit the Events & Programs page at hugohouse.org.

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SAnAstAciA-Renee is a writer, workshop facilita-tor, multivalent performance artist, and author of three books: Forget It (Black Radish Books), (V.) (Gramma Press), and Answer(Me) (Winged City Chapbooks-Argus Press).

KAthleen AlcAl á is the award-winning author of six books, a recent Whiteley Fellow, and a previ-ous Hugo House writer-in-residence. The Deepest Roots: Finding Food and Community on a Pacific Northwest Island, explores our relationship with geography, history, and ethnicity.

UsmAn Ali is a playwright who founded the only theater in the city of Mandi Bahauddin, Pakistan. His plays have been widely studied throughout Pa-kistan, with three to be staged at the Royal Court Theater in England. Ali believes theater initiates important conversations within and about society.

emAn AlYoUsUf is a chemical engineer and award-winning writer from the United Arab Emirates. Her feminist short film Ghafa (which was screened at the 2017 Dubai International Film Festival) received criticism for addressing contro-versial topics. AlYousuf has stated that her role as a writer is to provoke readers to ask questions.

RAe ARmAntRoUt is the author of several col-lections of widely anthologized poetry, including Versed, which won the Pulitzer Prize in Poetry and The National Book Critics Circle Award. She is the recipient of grants from the Guggenheim Founda-tion and the Foundation for Contemporary Arts.

tARA AtKinson is the author of Bedtime Stories (alice blue books) and Boyfriends (Instant Future) and her shorter work has appeared in Hobart, City Arts Magazine, Fanzine, The Iowa Review, and else-where. She co-founded the independent literature festival, APRIL.

Jeff BendeR ’s work has appeared in The Iowa Review, Okey-Panky, Electric Literature, Guernica, City Arts, and the Monarch Review. He received an MFA from Columbia University and is a former Writers-in-the-Schools resident.

Amee BhAvsAR currently directs the Washing-ton Lawyers for the Arts, with prior positions in government, nonprofit, corporate, media, and entertainment organizations. Amee holds a BA in English Honors from the University of Iowa, an MA in Media Studies and MS in Media Manage-ment from The New School in New York City.

Bill cARt Y has received fellowships from the Fine Arts Work Center, Artist Trust, and Hugo House. He is the author of Huge Cloudy (forthcoming, Octopus Books). His poems have appeared in the Boston Review, Ploughshares, Iowa Review, and other journals.

RichARd chiem is the author of You Private Person (Sorry House Classics) and the novel King of Joy (Soft Skull Press, 2019). His work has appeared in City Arts Magazine, NY Tyrant, and

Gramma Poetry, among other places. His book, You Private Person, was named one of Publisher Weekly’s 10 Essential Books of the American West.

cARA diAconoff is the author of Unmar-riageable Daughters: Stories and a novel, I’ll Be a Stranger to You. She has taught creative writing at Southern Methodist University in Dallas, Whit-man College in Walla Walla, Washington, and many other places.

nicole dieKeR is a freelance writer and Senior Editor at The Billfold and her work has also appeared in Boing Boing, Popular Science, The Toast, and numerous other publications. Nicole’s debut novel, The Biographies of Ordinary People, published Summer 2017.

sARAh dowling is the author of two books of poetry, DOWN and Security Posture, which received the Robert Kroetsch Award. Sarah has also published three chapbooks, and her scholarly book, Translingual Poetics, is forthcoming from the University of Iowa Press.

steven dUnn is the author of two novels, Potted Meat (Tarpaulin Sky 2016) and water & power (Tarpaulin Sky 2018), and a chapbook, Our Mi-grations (Business Bear 2018). His first novel was a Colorado Book Award Finalist, and shortlisted for Granta’s Best of Young American Novelists. Some of his work can be found in Columbia Journal, Granta Magazine, and Best Small Fictions 2018.

RoBeRto echeto works in many mediums including visual art and radio in addition to writing poetry and prose. Based in Venezuela, he is a founding member and teacher at the Instituto de Creatividad y Comunicación (Institute of Cre-ativity and Communication), where he shares the talents that won him the mixed-media competi-tion from Cultura Urbana.

sUz Anne edison , MA, MFA is the author of the chapbook The Moth Eaten World and her po-etry can be found in Bullets into Bells, What Rough Beast, Bombay Gin, The Naugatuck River Review, JAMA, and forthcoming in About Place Journal, among other places.

KAtie lee ellison is an author for a Penguin Random House childrens’ biography series, and her essays have been published in Shenandoah, Crab Creek Review, Jewish in Seattle, and else-where. She holds an MFA from the University of Idaho.

Jeff encKe has taught reading courses at Hugo House since 2004. His poetry has appeared in American Poetry Review, Barrow Street, Black Warrior Review, Boston Review, Colorado Review, Fence, Kenyon Review Online, Salt Hill, and elsewhere.

John englehARdt holds an MFA from University of Arkansas, and was a Made at Hugo House fellow from 2015-2016. His work has

appeared in Sycamore Review, The Stranger, Mon-keybicycle, and elsewhere.

KARen finneYfRocK is the author of the young adult novel The Sweet Revenge of Celia Door (Viking Children's Books) and Ceremony for the Choking Ghost (Write Bloody). She is a former writer-in-residence at Hugo House and teaches for the Writers-inthe-Schools program.

wAveRlY fitzgeRAld is the author of fourteen novels (nine have been published), one nonfiction book, and numerous essays. She has received a grant from Artist Trust, a fellowship from Jack Straw, and residencies from the Whiteley Center, Centrum, and Hedgebrook.

AmBeR fl Ame is an award-winning writer and performer whose work has garnered artistic merit residencies with Hedgebrook, Vermont Studio Center, The Watering Hole, and more. Flame re-leased her full-length collection, Ordinary Cruelty, in 2017, through Write Bloody Press.

gAil folKins often writes about her roots in the American West. She is the author of a memoir, Light in the Trees, which was named a 2016 Fore-word INDIES finalist in the nature category, and Texas Dance Halls: A Two-Step Circuit.

KAtie foRd is the author of If You Have To Go, Blood Lyrics, Colosseum, and Deposition. A recipient of a Lannan Literary Fellowship and the Larry Levis Prize, her work has been printed in The Norton Introduction to Literature, The New Yorker, and Poetry.

lAURie fRAnKel is the bestselling, award-win-ning writer of three novels. Her writing has also appeared in The New York Times, The Guardian, Publisher’s Weekly, People Magazine, Lit Hub, The Sydney Morning Herald, and other publications. All three of her novels have been optioned for film or TV. She was recently named one of the 50 Most Influential Women in Seattle.

Angel A gARBes is the author of Like a Mother: A Feminist Journey Through the Science and Cul-ture of Pregnancy (Harper Wave). She was the staff food writer at The Stranger, and her work has been featured in New York Magazine’s The Cut and on NPR’s Fresh Air.

RogeR gilmAn has a PhD in Philosophy from The University of Chicago. He taught interdisci-plinary courses in the Arts and Sciences at North-eastern University in Chicago and is a former poet-ry editor of the Chicago Review. He is a winner of the Boynton Prize in poetry and of a National Endowment of the Humanities fellowship.

eliz ABeth geoRge is the New York Times and internationally bestselling author of twenty British crime novels and the creative writing book Write Away, among other books. She has taught at col-leges, universities, writers’ retreats, and conferences internationally.

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cleliA goRe is a literary agent at Seattle-based Martin Literary Management. She specializes in representing authors of picture books, middle grade, and young adults books. She was named a Rising Star by Publisher’s Weekly in 2017.

lAURen gRoff is the author of the novels The Monsters of Templeton, Arcadia, and Fates and Furies, which was a finalist for the National Book Award in Fiction; as well as two story collections: Delicate Edible Birds and Florida. Her work has appeared in the New Yorker, Atlantic Monthly, Harper’s, and elsewhere.

JennifeR hAigh is the author of five novels and a story collection. Her books have won the PEN/Hemingway Award, the Massachusetts Book Award, and the PEN New England Award, and have published in eighteen languages. She is a 2018 Guggenheim Fellow.

nicole hARdY ’s memoir, Confessions of a Latter-Day Virgin, was a Washington State Book Award finalist. Her nonfiction has been adapted for radio and the stage, and noted in 2012’s Best American Essays. She earned her MFA at Benning-ton College.

chRistine hemp has aired her poems and essays on NPR’s Morning Edition. Her awards include Harvard’s Conway Teaching Award, a Washington State Artist Trust Fellowship, and an Iowa Review Award for Nonfiction. She teaches at the Iowa Summer Writing Festival.

mARcelo heRnAndez cAstillo is a poet, essayist, translator, and immigration advocate. He is the author of the collection Cenzontle, which won the 2017 A. Poulin Jr. prize, and the chap-book Dulce. His memoir, Children of the Land, is forthcoming from Harper Collins in 2020.

cAssAndRA hUnteR teaches, runs programs, and provides treatment to King County’s most vul-nerable residents at Downtown Emergency Service Center (DESC). She earned her Masters in Social Work from the University of Washington.

RAmon isAo is a recipient of the Tim McGinnis Award for fiction, and his work has appeared in the Iowa Review, American Reader, Ninth Letter, and Hobart. His screenplays include ZMD, Junk, and Dead Body.

sonoRA JhA is a professor of journalism at Seattle University and author of the novel Foreign. Her recent political essays have appeared in the New York Times, the Seattle Times, Seattle Weekly, and The Globalist. Sonora was a 2016-2018 Hugo House writer-in-residence.

RUth JoffRe is the author of the story collec-tion Night Beast (Black Cat/Grove Atlantic). Her writing has appeared or is forthcoming in Kenyon Review, The Masters Review, Lightspeed, Hayden’s Ferry Review, Mid-American Review, Prairie Schoo-ner, and elsewhere.

AmAndA Johnston is the author of GUAP, Lock & Key, and the full-length collection Another Way to Say Enter. She teaches at the Stonecoast MFA program, is a cofounder of Black Poets Speak Out, and founder of Torch Literary Arts.

Anne liU KelloR has received support for her work from Hedgebrook, Jack Straw, 4Culture, and Hypatia. Her memoir, The Heart Radical, forth-coming in 2019, explores themes of love, language, and belonging as she migrated between America, Tibet, and China.

KeetJe KUipeRs is the author of two collections of poetry, with a third forthcoming in 2019. A former Stegner Fellow, her poems have appeared in the Pushcart Prize and Best American Poetry an-thologies. She is senior editor at Poetry Northwest.

R.o. Kwon is the author of The Incendiaries. A National Endowment for the Arts Literature fellow, her writing is published or forthcoming in The Guardian, Vice, Buzzfeed, Time, Noon, Electric Literature, Playboy, and elsewhere. She has received awards from Yaddo, MacDowell, the Bread Loaf Writers’ Conference, and elsewhere.

dAvid lAsKY has been writing and drawing comics for the last 25 years. He co-authored the graphic novel Carter Family: Don’t Forget This Song, which won comics’ Eisner Award.

sonYA leA ’s memoir, Wondering Who You Are (Tin House) was a finalist for the Washington State Book Award. Her essays have appeared in Sa-lon, The Southern Review, Guernica, and more. Lea holds retreats in the USA and Canada. For more information: www.wonderingwhoyouare.com.

Alex mAdison ’s fiction and nonfiction have appeared in the Indiana Review, Witness, Salon, Bitch Media, The Rumpus, City Arts, and elsewhere. She is a part-time high school teacher, a WITS in-structor, and a recent graduate of the Iowa Writers’ Workshop.

ReBeccA mAKKAi is the Chicago-based author of the novels The Great Believers, The Borrower, and The Hundred-Year House, and the collection Music for Wartime—four stories from which appeared in The Best American Short Stories. She is the artistic director of StoryStudio Chicago.

BecKY mAndelBAUm is the author of Bad Kansas (University of Georgia Press, 2017), which received the 2016 Flannery O’Connor Award for Short Fiction and is a finalist for the 2018 High Plains Book Award for First Book. She currently lives in Washington’s Skagit Valley.

sARAh mAngUso is the author of 300 Argu-ments, Ongoingness, The Guardians, The Two Kinds of Decay, Hard to Admit and Harder to Escape, and two poetry collections. Her work has been supported by a Guggenheim Fellowship, a Hodder Fellowship, and the Rome Prize.

John doUgl As mARshAll is the author of Reconciliation Road, an award-winning family memoir. He was the longtime book critic for the Seattle Post-Intelligencer where he did face-to-face interviews with prominent memoirists, including Nora Ephron, David Sedaris, Elizabeth Gilbert, and Mary Karr.

sUsAn v. meYeRs directs Seattle University’s Creative Writing Program. Her first novel, Failing the Trapeze, won the Nilsen Award. She has received grants from the Fulbright foundation, the National Endowment for the Humanities, 4Cul-ture, Artist Trust, and several artists’ residencies.

dAnte micheAUx is the author of Circus (Indo-lent Books, 2018) and Amorous Shepherd (Sheep Meadow Press, 2010). His poems and translations have appeared in Poetry, The American Poetry Re-view, Callaloo, PN Review, The African American Review, and Tongue, among other journals and anthologies.

JARRet middleton is the author of Darkansas and the novella, An Dantomine Eerly. He was the founding editor of Dark Coast Press and Pharos Editions, an imprint of Counterpoint/Soft Skull Press. His writing has appeared widely in print and online.

ReBeccA moRRis is a New York Times-best-selling author and veteran journalist who worked in radio and television news in New York City; Portland, Oregon; and Seattle. She is the author of A Murder in My Hometown, A Killing in Amish Country: Sex Betrayal and a Cold-Blooded Murder, and If I Can’t Have You: Susan Powell, Her Mysterious Disappearance and the Murder of Her Children with bestselling author Gregg Olsen.

peteR moUntfoRd ’s novel A Young Man’s Guide to Late Capitalism won a 2012 Washington State Book Award. His second novel, The Dismal Science, was published in 2014. A former Hugo House writer-in-residence, he is currently on faculty at Sierra Nevada College’s low residency MFA program.

chARles mUdede is a Zimbabwean-born film-maker and writer. His films, Police Beat and Zoo, premiered at Sundance; Zoo at Cannes. Mudede, who is an editor for The Stranger, has contributed to the New York Times, LA Weekly, Village Voice, and e-flux.

shAnKAR nARAYAn explores identity, power, mythology, and technology in a world where bod-ies are flung across borders. A three-time Pushcart Prize nominee and Kundiman, Hugo House, Flyway, Paper Nautilus, and 4Culture awardee, Shankar loves his mirror homes of Cascadia and Delhi.

BJ neBlet t is the author of numerous short stories and several books of contemporary fiction, fantasy, and sci-fi exploring the inescapable reali-ties of irony in everyday life. The first book of his Planet Alt-Sete-Nine trilogy is now available.

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sieRRA nelson ’s books include forthcoming The Lachrymose Report and award-winning I Take Back the Sponge Cake. She earned her MFA in Po-etry from UW in 2002 and is Seattle’s Cephalopod Appreciation Society president. She teaches in Seattle, Friday Harbor, and Rome.

theo pAUline nestoR is the author of Writ-ing Is My Drink (Simon & Schuster, 2013) and How to Sleep Alone in a King-Size Bed: A Memoir of Starting Over (Crown, 2008). Nestor has taught the memoir certificate course for the University of Washington’s Professional & Continuing Ed program since 2006.

nichol As o’connell , MFA, PhD is the author of the novel The Storms of Denali and three nonfiction books. He contributes to Outside, Condé Nast Traveler, Food & Wine, and The New York Times.

An experienced science writer and editor, Kevin o’RoURKe is the author of the essay collection As If Seen at an Angle. He is an active book and cultural critic, and a regular Michigan Quarterly Review contributor.

mAdeline ostRAndeR ’s work has appeared in The New Yorker, The Sun Magazine, Audubon Magazine, The Nation, Seattle Met Magazine, and High Country News. She is a full-time freelance science and environmental writer and the former senior editor of YES! Magazine.

michelle peñAloz A ’s poetry has appeared or is forthcoming in the New England Review, the Asian American Literary Review, TriQuarterly, and elsewhere. She is the recipient of fellowships and scholarships from Kundiman, Hugo House, and the Bread Loaf Writers’ Conference, among others. Peñaloza has been teaching since 2005.

codY pheRigo is a queer writing animal that learned how to write at Bent Writing Institute and Goddard College. He interned at Copper Canyon Press (2014) and was a 2016 4Culture Artists Grant recipient. Cody also teaches through the Writers-In-the-Schools program.

Joe ponepinto ’s novel, Mr. Neutron, was published by 7.13 Books in March. He was the founding publisher and fiction editor of Tahoma Literary Review. He’s been published in many literary journals in the U.S. and abroad.

mARY pot teR is the author of the novel A Wom-an of Salt and Strangers and Sojourners: Stories from the Lowcountry. She’s been awarded writing residencies at MacDowell, Hedgebrook, and Cal-dera, and a Washington State Arts Commission/Artist Trust Fellowship.

diAnA RAAB , MFA, PhD is a memoirist, poet, es-sayist, and blogger. She’s an award-winning author of nine books, and numerous articles andpoems. She’s editor of Writers and Their Notebooks and her latest book is Writing for Bliss.

ingRid RicKs is an author, ghostwriter, and nar-rative writing consultant. Her memoirs include The New York Times bestseller Hippie Boy and Focus, a memoir about her journey with the blinding eye disease Retinitis Pigmentosa.

eRich schweiKheR is an educator, writer, and editor. His poems and essays have appeared in Hawai’i Pacific Review, Action Yes, and 42opus, among others. He is the co-founder and editor of the poetry and poetics journal Northside Review.

KAschA semonovitch holds a PhD in philos-ophy and MFA in poetry. Her poems and essays have appeared in journals including The Belling-ham Review, Zyzzyva, and The Kenyon Review. She taught philosophy at Seattle University and edited two collections of philosophical essays.

nisi shAwl is a writer of science fiction and fantasy short stories and a journalist. She is the co-author (with Cynthia Ward) of Writing the Other: Bridging Cultural Differences for Successful Fiction. Her short stories have appeared in Asimov’s SF Magazine, Strange Horizons, and numerous other magazines and anthologies.

michAel shilling is the author of Rock Bot-tom, a novel, which was made into a musical by the Landless Theater Company. He has taught fiction and screenwriting at Seattle University, Cornish College of the Arts, and other great places.

loRA shinn is currently interim editor at Alaska Airlines Beyond, and has written about travel for publications including Sunset, AFAR, National Geographic Traveler, AAA Journey, and New York Magazine.

cedAR sigo is the author of eight books and pamphlets of poetry, including Royals (Wave Books), Language Arts (Wave Books), Stranger in Town (City Lights), Expensive Magic (House Press), and two editions of Selected Writings (Ugly Duckling Presse). He was raised on the Suquamish Reservation and studied at The Jack Kerouac School of Disembodied Poetics at the Naropa Institute.

Beth sl At teRY is a writer and editor whose work has appeared in Assay: A Journal of Nonfic-tion Studies and Southern Women’s Review. Before moving to Seattle, she taught creative writing for eighteen years at Indiana University East.

Kim stAffoRd directs the Northwest Writing Institute at Lewis & Clark College in Portland, and is the author of a dozen books of poetry and prose, including Wind on the Waves (fiction) and A Thousand Friends of Rain (poetry).

KAtheRine e. stAndefeR ’s forthcoming book, Lightning Flowers, was shortlisted for the 2018 J. Anthony Lukas Works-in-Progress Prize from Columbia Graduate School of Journalism. Her writing won the 2015 Iowa Review Award in Nonfiction and appears in Best American Essays 2016.

gReg stUmp ’s work in comics includes the weekly strip Dwarf Attack and the acclaimed comic book series Urban Hipster. A longtime contributor to The Stranger and The Comics Journal, he recently debuted his first graphic novel, Disillusioned Illusions.

AncA l. szil ágYi ’s debut novel is Daughters of the Air, which The Seattle Review of Books called "a creation of unearthly talents.” Her writing appears in Los Angeles Review of Books, Lilith Magazine, and Confrontation, among others.

AnnA vodicKA ’s essays have appeared in AFAR, Brevity, Guernica, Harvard Review, Longreads, McSweeneys’ Internet Tendency, Paste, and Best Women’s Travel Writing 2017. She has had resi-dency fellowships to Vermont Studio Center and Hedgebrook.

dAvid wAgoneR has published seventeen books of poems and ten novels. He is professor emeritus at the University of Washington and was writer-in-residence (2005-2008) at Hugo House.

teRRi witeK is the author of six books of poems, most recently The Rape Kit, winner of the 2017 Slope Editions Prize judged by Dawn Lundy Martin.

deBoRAh woodARd is the author of Borrowed Tales (Stockport Flats 2012). Her translation from the prose of Amelia Rosselli, Obtuse Diary (Entre Rios Books), will be out this fall. Her No Finis: Triangle Testimonies, 2011 is forthcoming from Ravenna Press.

chAvisA woods is the author of Things to Do When You’re Goth in the Country and Love Does Not Make Me Gentle or Kind. Her fiction, poetry, and essays have been featured in such publications as Tin House, Lit Hub, Electric Lit, The Brooklyn Rail, The Evergreen Review, New York Quarterly, Cleaver Magazine, Jadaliyya, and others.

cARolYne wRight ’s new book is This Dream the World: New & Selected Poems (Lost Horse Press, 2017). She has sixteen earlier books and an-thologies of poetry, essays, and translation and has just returned from an Instituto Sacatar Fellowship in Brazil.

diAnA xin holds an MFA from the University of Montana. Her fiction has appeared in Gulf Coast, Third Coast, Narrative, and elsewhere. A 2017 Pushcart nominee, she is a contributing editor to Moss Lit, a journal of Pacific Northwest writing.

KRisten mill ARes YoUng is a writer whose work has appeared most recently in the Guardian, the New York Times, Hobart, Moss, KUOW, City Arts Magazine, and Pacifica. Kristen is co-founder and board chair of InvestigateWest, a nonprofit newsroom, and a Hugo House writer-in-residence.

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3030

NONPROFIT ORGUS POSTAGE PAIDSEATTLE, WAPERMIT #1030

1634 11TH AVENUESEATTLE, WA 98122

Thanks to you, we’ve created an inspiring space to host more classes and writers than ever before. In the coming months, we’ll welcome celebrated writers and poets such as Jim Shephard, Lauren Groff, Natalie Diaz, and Sarah Manguso. We’ll engage writers of all levels in over 100 courses. We’ll continue a decades-long legacy as Seattle’s hub for writers, readers, booksellers, publishers – and you.

Join Hugo House, special guest Maria Semple, and beloved local writers as we open the doors to our new home. Explore all the nooks and crannies, catch pop-up readings, hear music, and find literary experiences around every corner.

New Hugo House Opening Celebration September 225:00-8:00 p.m. (and stay late for the after party!) | 1634 Eleventh Avenue

Note our new address

starting September 22!

writing classes - Hugo House · Three international writers (Usman Ali, playwright; Eman AlYousuf,...

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