Events, Classes, and Seminars

Come learn the power of making short movies with your own short narrative. Digital storytelling joins the arts of writing and filmmaking to create 3-4 minute films.

Does what you write or how you write it change with the seasons? In these quarterly gatherings we’ll meet to be inspired by the turn of the world.

In this class, we will look anew at our manuscripts or rough drafts. We’ll locate the symmetries that already exist and expand them, push them to their fullest potentials. We’ll find themes and ideas that are intuitively central to our stories and ask whether they’ve been examined enough.

What makes a funny story more than just an elbow jabbing good time? In this class, we’ll read several humorous short stories and figure out what makes them impactful, lasting and literature.
In this six-week, workshop-meets-craft class, we'll dissect five different short stories and figure out: How did the writer do that? We’ll then apply some of those same literary tools to your own stories. Each writer will have the opportunity to have one short story workshopped in this class, with written and verbal feedback from both instructor and peers.

In this 8-week, in-person class, we’ll focus on one of the hardest parts of writing: writing. If you’ve taken Get Writing before, in January 2026 we’ll use all new writing prompts and exercises. If you’ve never taken it, we encourage you to get writing! This class is open to all writers wanting to generate new work and learn more about the craft of writing.

In this workshop, we’ll read the first pages of novels by writers like Virginia Woolf, James Baldwin, Toni Morrison, Louise Erdrich, Celeste Ng, Julia Armfield and more. We’ll consider the craft of a novel’s beginning and ways this can fit into the process of writing the full manuscript. Students will workshop their own first pages with each other and receive instructor feedback on up to 25 pages that begin their novels.

Who writes our shared histories? Who gets deemed "unreliable?" Through generative writing exercises and discussion of examples from Brody Parrish Craig's The Patient is an Unreliable Historian, we'll write poems together that challenge truth, combat erasure, and reclaim space for lived experience

Every story emerges from a prompt: a memory, an image, an historical incident, a song, a family tale. Experimenting with a wide array of such prompts can be a great way of discovering and developing stories, especially the ones that you didn’t know you wanted to tell.

Scenes are the heartbeat of storytelling. This class explores how to craft vivid, purposeful scenes that immerse readers and move your story forward. Through examples, exercises, and feedback, you’ll learn to build tension, reveal character, and balance showing and telling across fiction and nonfiction.

While this course will predominantly take the form of a workshop, it will also feature discussions of published works to explore the “absolutes” that govern the art of fiction and creative nonfiction, as well as to equip students to appreciate how they might bend if not break these rules in service of the stories that they hope to tell.

In this course, we’ll respond to writing prompts that engage the memory and summon the events of our past. By the end of week 8, all students will have a clear and succinct vision for their memoir, a revised outline, and the knowledge of both stories it is telling.

This six-week course is designed to help students finish a draft of a manuscript. We'll read craft essays about drafting a book, set aside time each week to discuss problems we're having with manuscripts, and design a schedule for each student to ensure everyone addresses the issues specific to their draft.

What makes a funny story more than just an elbow jabbing good time? In this class, we’ll read several humorous short stories and figure out what makes them impactful, lasting and literature.
In this six-week, workshop-meets-craft class, we’ll dissect five different short stories and figure out: How did the writer do that? We’ll then apply some of those same literary tools to your own stories. Each writer will have the opportunity to have one short story workshopped in this class, with written and verbal feedback from both instructor and peers.

In this four part class, we will consider the what, why, who, and how of form: what form is, why we might choose to write in an inherited form, alter an inherited form, or write in a made-up form, and how we might go about doing so.

In this short story-specific workshop we will read, discuss, and critique each other’s complete short stories in a supportive environment. We will also read published stories, and practice craft and editing techniques. We will close with an emphasis on radical revision practices so that you may continue polishing your work.