Oftentimes writers struggle to move their work from the digital world onto the printed page, so this is a course strategically designed for those who wish to learn the nuts and bolts of independent publishing. In 9 weeks, dedicated students will explore the process of editing for the page with the intention of producing, by hand, a small-run edition of what is often referred to as a “chapbook.” This course is suggested for the student who has a body of work yet seeks to manifest it into an artful production that pushes the boundaries of the printed word. Topics will include but will not be limited to: project conceptualization and management, manuscript editing and pre-production, design & layout theory, hands-on production (including analogue, and digital printing methodologies). The course will culminate with presentations and performances of the final work of each newly published writer. It is the goal that every student will produce an edition of two-dozen or more copies of their respective project.
Tuition + $50 materials fee
This workshop is designed for experienced writers looking to push their material towards publishable-quality literary fiction**. As a group, we will encourage ambitiousness in terms of content, structure, point of view and prose style, as we reach for fiction that stretches our abilities and moves beyond our comfort zones. In doing so, we will pay special focus to those elements of fiction that often elude even the most seasoned writers: strong opening sections that establish voice and “the rules” of a story, structure, layering in backstory, and achieving resonance. We will also pay close attention to the dynamics of scene building. While most of our workshop will focus squarely on student work, we will leave room to discuss craft via a small selection of prize-winning stories and publication.
*The course presupposes experience with writing and a familiarity with the terms used to describe the elements of fiction (theme, conflict, pov, etc.) If you have taken either two workshops or more (at LWI or elsewhere) or have published writing, you are considered Intermediate or above. If you do not meet these requirements but feel yourself to be an intermediate or advanced writer, please contact Allison Alsup at firstname.lastname@example.org.
This workshop-based class will invigorate the practice of fiction writers of any level through craft-based discussions, readings of published work, and writing exercises, and well as the writing workshop. While the class will focus on the short story, students are welcome to bring excerpts from longer projects. The class is predicated upon the idea that writers master the fundamentals of good storytelling not from a single exposure to the elements of craft, but from constant exposure and practice, developing their skills through conversation with other writers and by sharpening their critical eyes. Novice writers should find useful starting points, an overview of the basics of writing literary (and genre) fiction. More advanced writers should find new approaches to deepen their practices. Students should expect to leave the class with enough instructor and peer feedback on works in progress to enable them to make significant progress with one or two pieces of short fiction.
It can be hard to make time in our busy lives for artmaking. This class is designed to provide you with some of the tools to jump back in in playful, low-stakes ways. Through reading and discussing a wide selection of contemporary poetry, experimenting with different poetic and artistic tools to kickstart our own writing, and sharing the exciting results in a safe, encouraging space, we will show poetry to be truly boundless in the forms it can take. Whether you haven't written a poem since high school, or are looking to more fully commit to your practice, this class is for you!
The criminal justice system affects all of us, directly and indirectly. This class will use readings, in-class writing prompts, personal essay writing, and some basic elements of citizen reporting to explore the foundations of our criminal justice system and issues relating to how it is administered today. Within the framework of the class, participants will be encouraged to consider their own experience of our justice system (personal narrative), write from other points of view (compassion and empathy exercises), and explore related topics of their own choosing (non-fiction narrative). There will be weekly readings and writing goals, and sharing of work throughout the course.
Co- Instructors: Tom Lowenstein (Founder and Director of Roudanez Journalism Project) and Lara Naughton (Chair of Creative Writing at New Orleans Center for Creative Arts and certified Compassion Cultivation Training instructor).
This course will be a fiction workshop with an eye toward the contemporary publishing scene. Each week, I'll lead discussion on student manuscripts and the work of master writers. Students will gain increased awareness of their own artistic vision, while acquiring the skills to see this version through--from first draft to polished, publishable story. Writers of all ages, styles, and levels of experience are welcome.
In this course students will generate weekly work based on poetry prompts and assigned readings (students will write seven poems total). Class discussion will focus on assigned poems, the practice of poetry, particulars of student work, as well as revision and workshop. Students will practice careful response to peer work in a workshop setting and will receive instructor feedback on each of the weekly poems submitted to the class. All levels welcome.
Students will learn how to structure their own personal stories and memories, all while developing their overall storytelling skills. Additionally, students will learn the specific techniques required to adapt their own life story into a chronological, yet focused, memoir. There will be readings and discussions of other successful memoirs, the goal being to ultimately learn to write with the finesse of fiction and poetry. Publication strategies and marketing for creative non-fiction will also be covered.
The short story is a natural passageway into fiction writing. In this course, we will study the works of contemporary short story authors and complete brief writing assignments that will help you mine your life experiences for fiction pieces. We will use the fundamentals of story writing— structure, character, plot, dialogue, description, point of view, style and voice— to create powerful, affecting narratives. Additionally, students will be encouraged to view this process as a daily activity by writing sketches that develop powers of observation and starting to look ahead to publishing strategies and the current fiction marketplace.
Ralph Adamo received an MFA degree in poetry at the University of Arkansas in 1974. He has taught creative writing at Tulane University, Loyola, the University of New Orleans, LSU, NOCCA, and Xavier University. He was editor of the New Orleans Review from 1993-1999. He has also worked as a journalist, a speechwriter, and a television scriptwriter. He has published six books of poetry, including Sadness at the Private University, The End of the World, Hanoi Rose, and Waterblind.
Joseph Bradshaw is a graduate of the Iowa Writers’ Workshop. He is the author of In the Common Dream of George Oppen, a hybrid work of prose and poetry that investigates the non-life of modernist poet George Oppen. He recently moved to New Orleans from New York, and he teaches creative writing at Tulane University.
Patricia Brady came to New Orleans in 1961 and never left. She is the former director of publications at the Historic New Orleans Collection, and has published several biographies, including Martha Washington: An American Life, and In Search of Julien Hudson.
Peyton Burgess received an MFA degree in fiction from New York University. While at NYU, he taught undergraduate creative writing, curated the KBG Emerging Writers Reading Series, and worked as fiction editor for Washington Square Review. He teaches creative writing and composition at Loyola, where he served as fiction editor of New Orleans Review. His writing has appeared in Salon, Exquisite Corpse, The Faster Times, La Fovea, Otis Nebula, and Chicago Quarterly Review, among others.
Vincent Cellucci edited and contributed to The Katrina Decameron (an audiobook available through iTunes) and Fuck Poems: An Exceptional Anthology (Lavender Ink, 2013). His book of poetry, An Easy Place / To Die was publshed by City Lit in 2012. He teaches communication in the College of Art + Design at LSU.
Patty Friedmann is the author of six novels: Too Smart to Be Rich, The Exact Image of Mother, Eleanor Rushing, Odds, Secondhand Smoke, Side Effects, and A Little Bit Ruined. She has always lived in New Orleans.
Anne Gisleson's work has appeared in The Atlantic, The Oxford American, The Believer, Ecotone, The Cairo Review of Global Affairs and many other publications. Her work has been selected for inclusion in anthologies such as Best American Non-Required Reading, Best Music Writing, Life in the Wake, and others. She co-edited and co-wrote How to Rebuild a City: Field Guide from a Work in Progress, about ground-up rebuilding efforts in New Orleans after Hurricane Katrina and wrote the accompanying essays for photographer Michel Varisco’s Shifting, a book about the beauty and degradation of the coastal wetlands. She currently teaches writing at the New Orleans Center for Creative Arts, Louisiana’s arts conservatory for high school students.
Anya Groner received an MFA degree in fiction from the University of Mississippi where she was a John and Renee Grisham fellow. Her short stories, poems, essays, and book reviews have appeared in journals including Ninth Letter, The Oxford American, The Rumpus, Carolina Quarterly, The Georgia Review, Juked, Story South, Women's Studies Quarterly, Catamaran Literary Reader, Memphis Magazine, and elsewhere. She teaches creative writing and composition at Loyola, and is currently at work on a novel about teenage girls and eco-terrorism. email@example.com
James Nolan is the author of a collection of short stories, Perpetual Care, and two books of poetry, Why I Live in the Forest and What Moves is Not the Wind. His work has also appeared in Boulevard, The Southern Review, Shenandoah, Arkansas Review, and in the anthology New Orleans Noir.
Stephen Rea is originally from Belfast, Northern Ireland but has lived in New Orleans since 2004. He is the author of Finn McCool's Football Club:The Birth, Death and Resurrection of a Pub Soccer Team in the City of the Dead, a book centered around an Irish pub in Mid-City against the backdrop of Hurricane Katrina. In his spell at the Walker Percy Center he taught close to 200 writers in a variety of fiction-writing classes, and most recently covered the 2014 soccer World Cup for The Advocate.
David Rodriguez received an MFA in Creative Writing from Florida State University. His writing has appeared in a variety of publications, including the New Orleans Review, Southeast Review, and Double Dealer Redux. He has also composed music that was performed in art installations at the University Montana in Missoula and at the TEN gallery in New Orleans. Since 2007, he has taught creative writing, music writing, freshman composition, and American Literature at Florida State University and Southeastern Louisiana University.
Christine Wiltz is the author of five books, including four novels—The Killing Circle, A Diamond Before You Die, and The Emerald Lizard (a trilogy comprising the Neal Rafferty series), Glass House—and a biography, The Last Madam: A Life in the New Orleans Underworld. Her work has also appeared in New Orleans Noir, The New Yorker, The Los Angeles Times, New Orleans Magazine, and elsewhere. She has written two screenplays and co-wrote a documentary, Race and the American Dream, which aired on PBS in 1992. The Last Madam has been produced as a play, and is currently optioned for the screen.
From June 8-26, 2015, students will take a poetry workshop and a fiction workshop where they will develop their creative writing skills. These workshops are capped at 10 students. Students will work with published authors and Loyola faculty. The classes meet M-F, 9-Noon on Loyola's beautiful uptown campus. The cost is $400. A limited number of need-based scholarschips are available. Students requesting a scholarship must submit an essay up to 1,000 words detailing their need and desire to take the workshop, with a letter of recommendation from one of their teachers. The deadline has been extended to June 2, 2015.
For more information, contact Robert Bell at (504) 865-3094 or firstname.lastname@example.org.
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