The Loyola Writing Institute has been offering writing courses to the New Orleans community since 1993. These eight-week non-credit evening workshops are open to aspiring writers and to writers of all levels. Classes meet uptown on the Loyola University campus, in the Marigny at the Healing Center, in the Bywater at Antenna Gallery, and on the northshore in Covington. All classes, taught by experienced published writers, are small and supportive. Classes are capped at twelve participants. $250.* Fall classes are underway. Information on the next session will be available soon.
Writing Creative Nonfiction • Thomas Andes
Mondays 7-9 pm • Sept 22–Nov 10 • Monroe Hall 601
This course on writing memoir, personal essays, and other forms of creative nonfiction, aims to help develop and perfect the skill of writing well-crafted creative essays. Those interested in telling their own story, based on real life events, and then reflecting on the story’s meaning for themselves and others, will benefit from this class. We will read examples of published creative nonfiction, as well as each others’ work in a workshop setting. Students can expect to exit the class with one or two polished essays.
Writing the Screenplay • Mike Miley
Tuesdays 7–9 pm • Sept 23–Nov 11 • Monroe Hall 501
This is an introduction to screenwriting designed for writers and movie lovers who are new to screenwriting and are interested in learning the mechanics and principles of cinematic scene structure. Each course will focus on a different kind of scene—dialogue, opening, action, etc.—to show what makes a dramatic, effective scene in a screenplay. You will learn screenplay format, study scenes from classic and contemporary films and then workshop your own writing, and leave the class with an understanding of effective screenwriting and a few powerful scenes to build a film around.
Writing the Short Story • Allison Alsup
Wednesdays 7–9 pm • Sept 24–Nov 12 • Monroe Hall 501
This workshop is designed for both new and old hands of short fiction. Through shared work and helpful, supportive critique, we will focus on the basics, such as setting, point of view, exposition and action, dialogue, theme, development and revelation. Special emphasis will be paid to creating scenes that work and by extension, stories that compel. We will also challenge ourselves to explore the more elusive aspects of storytelling: layering, voice and vision, occasionally drawing on published stories as illustrations of technique. Both risk and revision will be strongly encouraged.
Writing Poetry • Joseph Bradshaw
Thursdays 7–9 pm • Sept 25–Nov 13 • Monroe Hall 501
This course is for poets at any stage—from beginners to the very experienced. Together we will discuss each other’s work, keeping a special focus on revision and on finding that elusive “it” that makes a good poem worth reading and revisiting. Each week I’ll also bring in poems by a variety of contemporary and past masters.
Write Now: Developing a Writing Practice • Jessica Kinnison
Wednesdays 7–9 pm • Sept 24–Nov 12
Learn to overcome the voice that convinces you to push your writing goals to tomorrow, next month, or next year through exposure to concrete craft tools, daily exercises, word play and building a community of writers who can support your efforts.
Writing the Short Story • Michael Jeffrey Lee
Tuesdays 7–9 pm • Sept 23–Nov 11 • The Reading Room
This course will be a traditional fiction workshop with an eye toward the current literary scene. Each week, I'll lead a discussion on original student manuscripts and the work of master short-story writers. Students should gain increased awareness of their own artistic vision, while acquiring the skills to see this vision through—from first draft to polished, publishable story. Writers of all ages, styles, and levels of experience are welcome.
Writing Poetry • Alison Pelegrin
Tuesdays 7–9 pm • Sept 23–Nov 11
In this course students will generate weekly work based on poetry prompts and assigned readings. We will cover the practice of poetry, the elements of poetry, and particulars of student work, as well as revision and workshop, among other topics. 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.
Writing the Short Story • David Rodriguez
Wednesdays 7–9 pm • Sept 24 –Nov 12
This course will cover the principles of writing fiction, common short story structures, and trends in publishing fiction. We will discuss participants' fiction in a workshop format with additional readings for analysis and inspiration. The class will give writers at all levels of experience tools that are adaptable to a wide range of genres. Writers of all ages, styles, and levels of experience are welcome.
Questions: firstname.lastname@example.org or 504-865-2475.
*10% discount for more than one course per semester and for Loyola faculty, staff, and alumni.
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.
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.
C. W. Cannon has written and published fiction and nonfiction widely, mostly focused on his native New Orleans. His work has appeared in periodicals such as Other Voices, Third Coast, Exquisite Corpse, American Book Review, Constance, Louisiana Cultural Vistas, New Orleans Review, The Rumpus, and the New Orleans Times-Picayune. His work has been anthologized in In Our Own Words: a Generation Defining Itself, Do You Know What It Means to Miss New Orleans?, Louisiana in Words, and New Orleans by New Orleans. His novel, Soul Resin (FC2 Press, 2002), a New Orleans ghost story, was hailed by Luis Alberto Urrea as “truly original.” His writing is found most frequently today in The Lens, where he contributes essays on New Orleans culture, the south, and race. He was the 2010-2011 Fulbright Professor of American Civilization at Université Cheikh Anta Diop in Dakar, Sénégal, where he promoted understanding (for himself and others) of the ancient ties uniting New Orleans and the Senegambian region of West Africa. He teaches writing and New Orleans Studies at Loyola University. email@example.com
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 is a native Louisianan writer, editor, poet, and teacher. She received an MFA degree from Louisiana State University. Her writing has been published in The Believer, Ecotone, New Orleans Review, Oxford American, The Atlantic, and in Best American Non-Required Reading. She has participated in residencies at the Virginia Center for Creative Arts and the New York Institute for Writers, and been the recipient of Louisiana Division of the Arts grants and a Surdna Arts Teacher's Fellowship. She currently serves as chair of the creative writing program at the New Orleans Center for Creative Arts (NOCCA), where she teaches.
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. firstname.lastname@example.org
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, originally from Northern Ireland, has lived in New Orleans since 2004. He was a journalist in the UK and is the author of a memoir, Finn McCool's Football Club, set against Hurricane Katrina and centered around the Irish pub in Mid-City. He covered the 2014 World Cup for the New Orleans Advocate.
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.
A non-refundable fee of 10% is included in each registration. Partial refunds will be granted for cancellations received before the second class meeting of a multi-week class or before the first meeting of a single-session class, or full credit for a future class can be granted in lieu of a refund. We cannot refund for missed classes.
Classes that do not meet minimum enrollments may be cancelled prior to the first class meeting with full refunds to all students. Classes are limited to twelve. Register early to ensure that your class makes.
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