TEACHING

Current classes and upcoming opportunities

I am offering two classes at Seattle’s Hugo House this spring.

Building Characters from Real Life

A six-session class, Mondays, April 17 and 24 and May 1, 15, and 22, and June 5, 7:10 pm to 9:10 pm. (No class on May 8 or Memorial Day, May 29.)

Register here.

Characters are what sell a story, turning an abstract idea into a living, breathing representation of human experience. In nonfiction and journalism, writers build characters from the raw and messy material of real life. In this six-week, generative class, you’ll explore techniques for rendering yourself and others as characters through scenes, dialog, and telling details. You’ll also learn strategies for researching and digging deeply into the thoughts, habits, manners, quirks, and substance of your characters. The class will draw on examples from writers who are masters of character development, such as Susan Orlean, Isabel Wilkerson, Tracy Kidder, and Lane DeGregory.

Through reading, writing assignments, discussion, and in-class exercises, students will learn strategies for:

*Finding characters anywhere in the world: tools for seeking out the inner struggles, dramas, anecdotes, and hidden stories that exist in nearly everyone’s life.

*Interviewing for character: how to build trust, understand motive, and extract details for building scenes and plot.

*Turning yourself into a character: tips for writing your own quirks, habits, and personality traits.

*Using scenes and telling details to reveal personality and motive.

*Building stories around characters: such as the profile, the essay, and others.

You will also develop:

*A brief draft of a character-driven story or a pitch for a feature, profile, or essay.

Writing Radical Essays and Personal Opinions

A two-session workshop, Saturdays, May 20 and 27, 1:00 pm – 4:00 pm.

Register here.

Opinion-writing is one of the most powerful vehicles for using personal stories to inspire change. In this two-session, generative class, you’ll explore strategies for writing personal stories that function both as political pieces and as literary work. You’ll practice mining your own experiences in order to explain and humanize your convictions. The class will draw inspiration from essayists and columnists whose work is both literary and polemical — such as Rebecca Solnit, Bill McKibben, Ta-Nehisi Coates, Timothy Egan, and the writers of the New York Times opinion pages — and from Louise Dunlap’s book, Undoing the Silence, about overcoming the barriers that make us reluctant to speak out. You’ll learn tips for structuring different forms of opinion pieces, including blogs, op-eds, and narrative essays.

You will come away from this class with:

*Writing prompts to help you extract story ideas from personal experience.

*Tools for making connections between personal stories and opinion, including “clustering” and concept-mapping.

*Tips for pitching and publishing opinion-writing and political essay.

*Strategies for plotting and structuring opinion-writing.

*A rough draft of an opinion piece or essay and/or a pitch.

Past offerings

Introduction to Feature Stories

A six-week class beginning October 3, 2016. Mondays, 7:10 PM – 9:10 PM,
at the Hugo House

The feature is a flexible narrative form that allows writers to combine a literary voice with the timeliness of newswriting—and get their work into top-tier, well-compensated publications. This generative class teaches the art and pragmatism of feature-writing. Through exercises, readings, and discussion, you’ll develop enticing story ideas and learn to weave together the characters, scenes, and “big idea” exposition that are characteristic of features.

You will come away from this class with:

*Tips for what makes a strong and publishable feature story.
*Strategies for finding a good story idea, from both predictable and surprising sources, including techniques for spinning features out of memoir and personal essay.
*An understanding of the rules and structure of a feature story—angles and nut grafs, ledes and kickers. Guidance for when to stick within these rules and when to “color outside the lines.”
*Tools for researching feature stories: using interviews to develop character; gathering facts and sensory details to craft scenes; and creating plot from real-life tension.
*Approaches for story-blocking, scene-writing, and artful exposition.
*Tips for finding your publication niche. How to research, analyze, and pitch print and online forums for your work.
*How to sing with the feature-writing chorus: Honoring your writer’s voice while accommodating the needs of your editors and publications.

You will also develop:

*A series of ideas and leads for feature stories.
* One or more draft story pitches and the tools to craft many successful features.

We will draw on examples from masters of narrative journalism and feature writing, such as Elizabeth Kolbert, Ta-Nehisi Coates, Katherine Boo, Rebecca Skloot, and Isabel Wilkerson.