BOOK FAIR - Lighthouse Writers Workshop

Transcription

eighth annual
LIT FEST
& BOOK FAIR
June 7 – 22, 2013
Two weeks of seminars, parties,
workshops, and agent consultations.
Poets R Novelists R Memoirists
Screenwriters R Playwrights
& More
If you’re going to do this, if you’re going to write, don’t just write. Don’t just fiddle around in it.
Try to be a great writer. Think about the writers who have moved you, the ones who have made
you want to do this, and aim to be in their company. Don’t take every word you produce too seriously, but take the power of words seriously, always. Take the potential to be powerful seriously, that
potential in each of you. Write to reach that potential. —Robin Black, Lit Fest 2013 faculty
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That’s a mathematical proposition we can get behind.
For eight years now, Lighthouse has contrived infinite
excuses to get our favorite people together—whether you’re
from Colorado or visiting from far away, whether you’re new
to writing or finishing your third book, whether you’re tall or
short, male or female, whether you write hard-boiled literary
mysteries with a touch of apocalyptic humor or quirky little
haikus made up of esoteric anagrams. We have no age restrictions (once you’re 18, that is!). No dress code. All we want is
great people who care about the written word.
This year’s Lit Fest brings back favorite visiting authors
Andre Dubus III, Robin Black, Steve Almond, and Thomas
Lux. We welcome new faculty Gordy Hoffman, John Shors,
Judith Pacht, Julene Bair, Michael Nye, and others, as well
as applauding the return of our all-star cast of Lighthouse
regulars and guests, including David Wroblewski, Shari
Caudron, William Haywood Henderson, Erika Krouse,
David Rothman, Vicki Lindner, Steven Schwartz, John
Brehm, and oodles more. There will be agents from Folio
Literary Agency, Janklow & Nesbit, Nelson Literary, Bond
Literary, and elsewhere (this list grows and grows), as well
as editors from Missouri Review, Colorado Review, and The
Normal School. There will be countless ways to cross paths with
new friends and colleagues.
Take a look at our Juried Workshops (pp. 4–6), One- and
Two-Weekend Intensives (pp. 6–8), Craft Seminars (pp. 9–20),
Salons (pp. 20–21), Business Panels and Brown-Bags (pp. 21–
23). Check our website for the latest news on parties, readings,
and our second annual Book Fair. This is all evolving—dare we
say at an infinite rate?—so please check our website frequently.
We look forward to seeing you soon!
The outcome of the first Lighthouse Lit Fest Book
Fair was a remarkable success! Almost everyone I
saw leaving the tent was carrying a Tattered Cover
bag...and the crowds between sessions were devouring
the titles.—Andrea Doray, participant, Lit Fest 2012
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Juried Workshops
week‐long intensives
Each intensive is limited to 10 participants and meets five times
(Monday–Friday) for two-and-a-half-hour sessions. During the week,
you’ll also have the chance to meet one-on-one with your instructor.
tuition: $595/members; $645/non-members
This was the BEST workshop I’ve attended (and I’ve attended
a lot). I’m not just saying this. It is nitty-gritty work to go line
by line and realize what fine writing is and how it works. To
focus on the line, the paragraph, and to see them as integral and
representative of the whole novel, is unique to anything I’ve
learned about novel writing (I mean really learned).—Karen
Levinbook, participant, Lit Fest 2012
Enrollment in juried intensives requires an application. The priority
deadline to apply is March 18; after that, applications may be accepted until the workshops are full. Details are available on our website.
Monday through Friday, June 10–14 (9:00 am to 11:30 am),
with individual meetings outside of session times
I had a great Hemingway line on my mind as I was writing
Townie: ‘Forget your personal tragedy. We are all bitched from
the start.’ If I hadn’t forgiven that kid [myself ] his cowardice, my
mother her depression, my father his absence, I don’t think I could
have written the book.—Andre Dubus, III
william haywood henderson
Advanced Memoir Workshop: The Fearless Story
andre dubus III
In this workshop we’ll go fearlessly into the story of what happened,
how you feel about it, and what it has meant to you over time. The
class will consist of daily lectures, discussions, and writing exercises
aimed at helping you learn more about emotional complexity,
narrative structure, the art of revelation, building metaphor from
real life, creating tension, and finding and digging deep into all the
layers of your story without sparing yourself or alienating everyone
in your life. Each writer should submit up to 20 pages of his/her
literary nonfiction for class discussion by May 10, and will have the
opportunity to schedule an individual meeting with Andre during
4 the week of class.
Advanced Novel Workshop: Your Novel’s Heart
Wordsworth said, “Fill your paper with the breathings of your
heart,” but often we get so focused on the many other necessary elements of the novel, we forget it needs to have heart. This workshop
will give your novel a much-needed “heart check,” a close look at
your prose and what it evokes in your reader. What are your core
strengths, and where do you need to dig deeper, to try to tap into
that critical vein of meaning and emotion that makes any novel a
true original?
During the week, we’ll workshop each participant’s submission,
using each submission as a jumping-off point to explore the vital
aspects of craft that will make your novel really sing. For direction
we’ll turn to examples from literature, especially Thomas Savage’s
The Power of the Dog, which all participants should read prior to the
workshop. We’ll take what lessons we can from those who have risen to Wordsworth’s challenge, and who can teach us how to do the
same. Writers will submit one chapter of up to 20 pages for class
discussion by May 10, and will have the opportunity to schedule an
individual meeting with Bill during the week of class.
I’ve taken far too many workshops, and didn’t think I could be
surprised by another one, but Robin Black surprised me. By addressing story elements through examination of our group’s stories
as a whole, I learned more about my own writing in one week of
her nontraditionally structured workshop than I have in countless
traditional workshops. No one person was ever ‘in the hot seat’
because in a sense we all were, which allowed us all to relax and
learn more deeply about what it takes to tell a really good story.
Robin Black’s knowledge about story telling is vast and bottomless, and her willingness to share any and all of it makes her one
of the most generous teachers I’ve ever known. —Laurie Sleeper,
MFA, participant, Lit Fest 2012
There’s never a dull moment in Robin Black’s workshop. She’s
masterful at shaping lessons spontaneously to meet the needs of her
students.—Rudy Melena, participant, Lit Fest 2012
Advanced Fiction: A Nontraditional Workshop
robin black
This workshop’s subject-matter-based approach has the benefit of
putting the emphasis on lessons that reach beyond an individual
work, while removing the ego and the vulnerability of traditional
workshops. The whole question of whether the group likes or
doesn’t like any given piece will be off the table. Instead of discussing participants’ stories individually, the session will be structured
around particular points of craft, and in the context of exploring
these points, we will examine their implications for each story or
novel passage.
Our points of focus will likely include beginnings and endings;
choices of point of view and tense; creating and effectively using
secondary characters; reading your own work for revision; etc. The
final list of topics will ultimately be determined by the submissions
themselves. The goal is not to find a game plan for improving
individual pieces—though that will almost certainly be a side benefit—but to deepen every participant’s understanding of a variety
of craft issues. Participants will submit up to 20 pages of fiction by
May 10, and will have the opportunity to schedule an individual
meeting with Robin during the week of class.
Gordy effortlessly manages to deliver thorough, honest, constructive criticism, yet does so with a sincere warmth and kindness.
You get the notes you need to make your work better, but you leave
feeling empowered and cared for as a writer rather than stressed
or upset about the parts of your script that need work.—Kristyn
Jo Benedyk, former student
Advanced Screenwriting Workshop: How is Your
Screenplay Done? | gordy hoffman
Everyone can write a problematic first draft. This isn’t the issue
facing the unproduced screenwriter. Writers often find themselves
in a rush to be “done” with their script. The final chapter in the
road of a screenplay toward production is one not often undertaken, as many screenplays never get any interest or response from the
industry. What is happening here? Why are our scripts not where
they should be? A writer’s ability to stay open to feedback and
recognize for themselves how their screenplay can be as emotionally engaging as it can be is the difference between the amateur
screenwriter and the professional. Through this workshop, we will
identify how a very strong script can become unstoppable and
examine—through discussion of the screenplays—how writers can
better serve themselves in the final stages of the process. We often
get in our own way. We are the ones who stop writing short of
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something very special. Let’s look at how we might explore the last
chapter of development and devise a completely new definition of
“done.” Participants will submit for review their whole script by
May 10, and will have the opportunity to schedule an individual
meeting with Gordy during the week of class.
workshop. tuition: $375/members; $415/non-members
Enrollment in juried intensives requires an application whose priority
deadline is March 18; after that, applications may be accepted until
the workshops are full. Details are available on our website at
www.lighthousewriters.org.
Poetry exists because there is no other way to say the things that
get said in good poems except in poems. There is something about
the right combination of metaphor or image connected to the
business of being alive that only poems can do. To me, it makes me
feel more alive, reading good poetry.—Thomas Lux
Saturday and Sunday, June 8–9 (8:30 am to 12:30 pm)
Advanced Poetry: Word by Word, Line by Line
thomas lux
Poets in this intensive workshop, under the guidance of Thomas
Lux, will pay close attention, in minute detail, to all the elements
that go into writing a poem. So: we’ll do word by word, line by
line readings. Frost said that the primary way to get to the reader’s
heart and mind is through the reader’s ear. The sound, the noise of
a poem, demands our attention. We must be tough, honest, and
direct with each other’s work and also be generous, thoughtful, and
never condescending or dismissive. A good workshop can accomplish all of this and leave the poet inspired to do their best work.
Poets will submit six to eight poems by May 17 to be reviewed for
workshop (all will be read, if not necessarily discussed due to time
constraints), and will also meet with Tom individually.
juried weekend intensive
Experienced writers of condensed prose—stories or essays—will submit
up to 4,000-word stories and essays to be considered by their
6 peers and Almond in this likewise condensed weekend intensive
Advanced Short Prose: The BS Detector
steve almond
“Writing is decision making,” says author Steve Almond. “Nothing
more and nothing less. What word? Where to place the comma?
How to shape the paragraph? Which characters to undress and in
what manner? It’s relentless.” The best way to develop the ability to
make these decisions is to learn how to judge your own work, and
the best way to learn to judge your own work is to look critically
and carefully at other people’s work. That’s what participants will do
in this workshop. “The idea is not to slow your rate of composition
via compulsive revision,” says Almond, “but, on the contrary, to
make better decisions in the first place, and to recognize when you
haven’t quickly, without succumbing to the opera of self-doubt.”
Work with Almond and other experienced writers on your own
short prose—fiction or nonfiction, in this not-to-be-missed workshop. Accepted participants will submit short pieces of up to 4,000
words by May 8 to be reviewed during this intensive.
two‐weekend intensives
Two-Weekend Intensives are limited to 12 participants and meet four
times, Saturdays and Sundays, June 8–9 and June 15–16. These are
designed for all levels of writers, and will focus on craft elements and
developing projects. Feedback on a limited number of pages or poems
will be given to classmates as well as provided by them and the instructor—typically on the second weekend. See individual descriptions for
more detail. tuition: $345/members; $405/non-members
It’s a long process, and each draft is much more than just tinkering
with sentences. There’s a point at which merely noodling with a
sentence just isn’t going to bring the text (and idea) to life. You can
change a word, add a comma, reorder the clauses, but you know
(deep down) that you’re not yet getting at what you know needs
to occur in order to dramatize your idea.—William Haywood
Henderson
Morning Sessions, June 8–9 and June 15–16
(9:00 am to 12:00 pm)
Kickstart Your Nonf iction Book | jason heller
The demand for nonfiction books has only increased in recent
years, and the fact that they can be sold to a publisher on proposal
makes them particularly attractive for writers. What’s your real-life
area of expertise and passion: science, technology, medicine,
popular culture, literature, humor, slice of life? This immersive,
two-weekend intensive will help you refine your focus, sharpen
your goals, use your proposal as a compositional tool, think about
agents and editors, and set your sights on publication.
Starting Your Novel from Scratch
william haywood henderson
Come to this two-weekend-long workshop with an idea. Leave
with character sketches, an outline, your opening pages, and a sense
of the novel as a whole. You’ll conceptualize your work under the
guidance of novelist William Haywood Henderson. What is the
right shape for the piece? What are some of the key plot points?
Who are these people, anyway? Even if you’ve already started a draft
of your novel, this class will help you organize your material. You’ll
also receive detailed feedback on your work. With the foundation
settled beneath your book, you can go forward with confidence.
Afternoon Sessions, June 8–9 and June 15–16
1:00 pm to 4:00 pm
Novel and Memoir Structure Clinic | erika krouse
Your novel or memoir is going great until you look up and realize
that it’s turned into a sprawling, gooey (yet brilliant) mess. Maybe
it goes nowhere, maybe it goes everywhere, or maybe you have no
idea how to even begin this mammoth of a project. No worries!
In this workshop, we’ll investigate how to build a rock-solid
structure for your book using character development, plot, and
archetypes. While our focus will be on traditional structure, we will
also explore nontraditional structures and good ways to use them.
Bring your idea and you’ll leave this intensive with a complete and
detailed structural outline for your book. This class will consist of
mini-lectures, group discussion, and group workshops. Please bring
two packs of 4x6 index cards.
Reading as a Writer: The Poetry of William Carlos
Williams | john brehm
None of the great Modernist poets has enjoyed a wider or more
lasting influence than William Carlos Williams. Reading him is
both inspiring and instructive—and refreshingly unintimidating.
Williams is a poet who instantly makes you want to write.
In this two-weekend reading-as-a-writer course, we’ll look closely at
how Williams’s poems are made, as well as what they say, with an
eye toward how they might help us with our own work (so much
depends upon a...sharp line-break!). Our text will be the Selected
Poems, edited by Charles Tomlinson. (Please get this book even if
you already have other editions of Williams’s poetry). Participants
will be asked to memorize one Williams poem and to write at least
one poem—to be discussed during the final class—in response to
our readings. The course is open to writers of all genres.
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Young Adult/Middle Grade Novel Workout
victoria hanley
Are you fired up about a story idea, but not quite sure how to turn
your inspiration into a finished book? This course explores craft
elements important to the YA and MG novelist. The first weekend
covers techniques for forming connections with your characters,
working with dialogue, scene development, pacing, POV, and
voice. The second weekend is all about feedback on excerpts of
your writing.
Morning Session, June 8–9 (9:00 am to 12:00 pm)
The Three Dimensional Memoir | phyllis barber
We all have personal histories, and they live because of the memories we keep of them. A memoirist’s task is to craft their stories so
they take on life in the reader’s mind. Bring it alive and move the
picture in your head to the page with style—focusing on incorporating the elements of setting and characterization into the story
you know so well. This course is perfect for all levels of memoir
writers.
Morning Sessions, June 15–16 (9:00 am to 12:00 pm)
Stylin’ | vicki lindner
As much as artists need to focus on the beauty and depth of their
projects, first impressions matter now more than ever before.
“Stylin’” means “looking good,” and stylish prose tends to attract
notice from agents, editors, and publishers. In this workshop,
writers will submit samples from their projects and, as a group,
we’ll tone flabby sentences, create speedy transitions, and hype up
word choice. We’ll also try out techniques cribbed from famous
literary stylists.
one‐weekend intensives
One-Weekend Intensives are designed for 10–15 participants and
meet twice, either Saturday and Sunday, June 8–9, or Saturday and
Sunday, June 15–16. These workshops are designed to generate a depth
of understanding of certain elements of craft. Although you might
share work and receive first-blush feedback on short passages in these
workshops, they’re not designed as typical “workshops” in which you
give and receive detailed feedback. If that’s what you want, consider the
week-long juried intensives, the two-weekend intensives, and the oneon-one consultations with agents.
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tuition: $190/members; $250/non-members
First Chapters that Sell the Novel | cort mcmeel
It’s a well-known truth that literary agents send back manuscripts
with less than stellar first chapters. If you can’t capture their interest
in the opening pages, they know no matter how great the book is,
it’s not likely to rise to the top of some swamped editor’s desk. In
this workshop we will look at what makes a successful first chapter.
Plot, dialogue, original prose styles—there is more than one way to
impress. These elements must, however, remain in balance. When
an author overdoes something he or she does well, they can come
across as a one-trick pony. Narrative drive, prose, and characters
all have their place in the orchestration of chapter one. This lecture
will examine great first chapters past and present and discuss what
editors and agents are looking for: deal makers vs. deal killers.
Participants are encouraged to bring in the first page of their novel,
whatever shape it’s in.
Afternoon Sessions, June 15–16 (1:00 pm to 4:00 pm)
The Design of Stories: Cheever’s “Goodbye,
My Brother” | david wroblewski
All functional objects are designed—including stories. Using John
Cheever’s “Goodbye, My Brother” as a case study, we’ll consider
what it means for a story to have a function, to be designed, and
how this particular story addresses some design tradeoffs present
in all fiction. Discussion will be wide-ranging, drawing from
many disciplines, and most beneficial to writers concerned with
middle-draft issues. Students should read the story before class,
and bring a copy they can annotate as we walk through the story
together.
Nonf iction for Liars | richard froude
“Anything processed by memory is fiction,” author David Shields
writes in his now famous manifesto, Reality Hunger. Where will we
draw our lines between fiction and nonfiction? Between memory
and imagination? In this generative workshop, folks who are interested in personal essay, creative nonfiction, lyric essay, and even
straight memoir are invited to leap over these lines and explore how
pushing boundaries can help writers arrive at something closer to
“truth.” Come with an open mind and something to write on.
Craft Seminars
In the beginning was the word, and the word was uttered by
a storyteller.—Steve Almond
Craft sessions are designed to help writers of all levels break through
creative blocks and gain new insight into specific topics, techniques, or
genres. Although there are usually opportunities to share writings and
ideas in these workshops, they are not designed as workshops in which
you give and receive feedback on your work. If that’s what you’d like,
check out the juried workshops, the two-weekend intensives, and the
one-on-one consultations with agents. Workshops other than the asterisked ones are capped at 15 members; asterisked workshops are held at
seminar tables in the grotto for up to 50 participants. During the week,
you’ll also have the chance to meet one-on-one with your instructor.
tuition: $65/members; $75/non-members. pick five if
you have any lit fest pass or five-pack, or other packages available (see Pricing & Registration section)
Saturday, June 8 (5:00 pm to 7:30 pm)
How to Create An Irresistible Narrator*
steve almond
Many a short story, novel, and memoir have gone unpublished
because the author fails to create a strong narrator, one who can
act as a wise and entertaining guide to the reader. In this class, we’ll
examine the work of Jane Austen, Saul Bellow and a bunch of other
badasses—and try an in-class exercise—in an effort to make sure
your next narrator isn’t just strong, but irresistible.
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Sunday, June 9 (5:00 pm to 7:30 pm)
DIY Publishing* | steve almond
For years, there’s been a stigma associated with self-publishing.
But as the corporate publishing model continues to contract, that’s
changing. Book making has become cheaper and more accessible,
which leaves authors with more options as to the kind of publishing experience they want. In this informal workshop, we’ll discuss
the opportunities and risks afforded by the DIY revolution, and
what it takes to build a readership “from the bottom up.”
Monday, June 10, Afternoon Sessions (2:00 pm to 4:30 pm)
Mining for Memory | shari caudron
To create vivid and believable scenes from your past, don’t sit back
and wait for memories to come to you—go out and actively seek
the memories you need. In this workshop, we’ll take a look at
different techniques writers use to unearth details from their past,
discuss how temperament affects memory (and how to correct
for it), and look at the difference between factual memory and
emotional reminiscence. Participants will be given pre-assignments
so that they come to class ready to research the details that matter
to their stories, whether writing memoir, personal essay, or fiction
drawn from real-life experiences.
Building Your Web Presence, or: The Internet for
Writers | jenny shank
Perhaps you’ve heard of this Internet thing. As a writer, what are
you supposed to do with it? Do you need a website to showcase
your writing? What’s that tweeting stuff all about? How do you
use Facebook to endear and not annoy? Does anybody still blog?
Okay, obviously you have a lot of questions. We’ll answer them and
discuss which websites can help your writing career, how to estab-
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lish yourself as a specialist in a certain topic, and study examples of
ways to build a web presence to help you earn a book contract and
to guide readers to your book after it’s published.
Creating Emotion and Avoiding Melodrama
paula younger
Sometimes we’re so afraid of melodrama that we avoid emotion
in our writing altogether. But to convey important moments and
break a reader’s heart, you have to learn how to use the page and
words to convey the deepest emotion. Join us to learn some tricks
and discuss how to bring emotion to your important scenes and
how to avoid the dreaded melodrama.
Building a Bliss Station | chris ransick
In the words of Joseph Campbell, “You must have a room, or a
certain hour or so a day, where you don’t know what was in the
newspapers that morning, you don’t know who your friends are,
you don’t know what you owe anybody, you don’t know what
anybody owes you. This is a place where you can simply experience
and bring forth what you are and what you might be.” Explore
your ideal bliss station—and then get practical in this discussion
of when, where, and how to construct and preserve a real and
productive space/time niche in your creative life.
Monday, June 10, Early Evening Sessions (5:00 pm to 7:30 pm)
Jumpstart Your Memoir | shari caudron
You’ve lived through an amazing experience and know you have
a story to tell—but you’re having trouble getting started. Where
do you begin? How should the story be structured? Why would
anybody care? In this seminar, you’ll be guided through a series of
writing exercises designed to help you understand your story, find
its universal relevance, and—most importantly—start writing!
You Had Me At Hello | mario acevedo
A Great Story Begins With A Great Intro. The opening lines of
your novel should draw the reader into your house of magic. Make
them suspend disbelief and follow you deep into the drama. In
this workshop we’ll discuss masterful opening lines and analyze the
techniques used to create a compelling tone and an engaging voice.
Participants are invited to bring the first page of a fiction
(or narrative nonfiction) work-in-progress.
Using Rhyme and Echo in Fiction | amanda rea
As writers, we instinctively create patterns in our work. The
question is whether we’re going to guide them to symmetry and
significance. In this workshop, we’ll discuss narrative echo effects,
dramatic repetition, visual rhymes, and ways to build these effects
into novels and stories. Participants should bring a novel chapter or
story they’d like to revise.
Freelance Writing: Getting Started and Building
your Career | jenny shank
How do you query editors to find those first freelance jobs, and
how do you make the first assignments lead to more? We’ll discuss
Neil Gaiman’s rules for freelance writers and how to make them
work for you, how to find venues that are open to new writers, and
how to establish yourself as a specialist so that eventually editors
will seek you out! Jenny has freelanced as a writer of personal essays
and articles about books, music, and travel for National Geographic
Traveler, Poets & Writers Magazine, Bust Magazine, The Onion A.V.
Club, Dallas Morning News, High Country News, and PBS MediaShift, and she’ll address the particular freelancing interests
of each student.
Tuesday, June 11, Afternoon Sessions (2:00 pm to 4:30 pm)
The Story Collector | robin black
Linked collections, unlinked collections, novels-in-stories, loosely
linked collections, thematically linked collections. Which is yours?
And how do you know? We’ll look at different categories and then
also discuss where you think you are with your own stories—and
where you want to be. We’ll find clues and signposts and then
balance all that with those awful worries about commercial viability.
Please come prepared to discuss your work in general terms.
The Story Only You Can Tell | shari caudron
Most writers revisit the same themes over and over again in their
work—even if they are not consciously aware of those themes while
writing. This workshop will help you uncover the passions, obsessions, experiences and meaningful themes in your life that can—
and should!—be woven into your work. Instead of overlooking the
obvious influences, this workshop will help you recognize and take
advantage of them.
The Secret of Steamy Scenes | joanna ruocco
Are you finding your fiction is…lacking passion? How can it be
fully humanized if one of our most human impulses is neglected?
It’s time to get your novel hot and bothered! Get your story tangled
up in the sheets. In this class we’re going to talk about sex. From
the euphemistic to the explicit, we’ll explore different writing
strategies that turn up the heat.
Personal Imagery and the Writer | victoria hanley
Tapping personal imagery provides messages and information
about who you are, where you’ve been, and where you’re going.
You can get perspective about your direction as a writer, your most
successful approach to writing, and most of all your own voice.
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Tuesday, June 11, Early Evening Sessions (5:00 pm to 7:30 pm)
Plunge into the “Right Now” Scene | vicki lindner
Most fiction and nonfiction writers know how to write scenes—a
“Show Don’t Tell” fundamental. But a scene can feel dull and faraway, once removed, instead of gripping and immediate. A subtle
shift of viewpoint, attitude, and language will help you compose
a happening scene. We will penetrate the difference between the
distanced scene and the “right now” scene with examples and
exercises.
Fiction for Poets | seth brady tucker
This workshop is designed to teach poets to use some of the techniques and craft tools of great fiction. We will employ the learned
skills of writing with narrative focus, plot, and tension (among
many others), so that our words practically vibrate on the page and
our poems spark with life. Through readings and exercises, we will
learn how poetry can benefit from the work often associated with
fiction writing.
Interior Monologue | doug kurtz
He thought he might teach a class on interior monologue, but the
prospect was daunting. Would anybody take it? Would they find
a discussion and exercise-based class on this powerful but often
overused aspect of fiction useful? Maybe…He loved that delving
into the interior worlds of characters was such a great way to build
identification with them, and to disclose information that would
be awkward to filter through dialogue or action. He believed
characters were convincing only by the way they moved from one
state of mind to another, and that readers were engaged by stories
that portrayed this movement artfully. He knew interior monologue could help the reader experience change with a character, and
thereby deepen and enrich story. The more he thought about it the
more convinced he became, until his doubts vanished altogether.
12 Yes! I’m going to do it. No matter what they think…
What’s the Story? | michael catlin
It’s the question most asked of writers. All narrative forms have
certain principles in common—principles related to character, plot,
and tone. You can have a great idea or a full draft, but if you don’t
have a beginning, middle, and end, and a compelling character
with a clear conflict, you do not yet have a story. In this workshop,
writers will discuss and refine the essential ingredients that capture
a reader and engage an audience. We’ll discuss dramatic theory,
seasoned with a heavy dose of practical tools for solving story
problems. Whatever your level, you’ll leave this class with a few
more arrows in your writer’s quiver.
Wednesday, June 12, Afternoon Sessions (2:00 pm to 4:30 pm)
Mining for Character* | andre dubus III
“As a matter of writing philosophy, if there is one,” says novelist
and memoirist Andre Dubus III, “I try not to ever plot a story. I try
to write it from the character’s point of view and see where it goes.”
This seminar focuses on finding the truth of your characters—be
they fictional or nonfictional—so that the plot and structure
emerge more organically. Participants will examine published
works, discuss techniques, and do short writing exercises in this
dynamic seminar with Andre.
Humor Writing | shari caudron
Bring those wacky story ideas you’ve been collecting and be prepared to experiment with understatement, surprise, exaggeration,
irony and pacing—techniques stolen from great humor writers
like David Sedaris, P.J. O’Rourke, Tina Fey, and others. The goal?
To leave with an early draft of a laugh-out-loud story or essay.
Possible side effects may include teary eyes, tired cheek muscles,
and aching sides.
Wednesday, June 12, Early Evening Sessions (5:00 pm to 7:30 pm)
Self-Editing: A Primer for Writers* | john shors
Thursday, June 13, Afternoon Sessions (2:00 pm to 4:30 pm)
Revestion, Revistion, Revision* | robin black
We all reach the point in the writing process when it’s time to
open the door to our most nitpicky selves, the very voice that
was unwelcome as we worked out bigger issues of composition.
Short of memorizing the Chicago Manual of Style and constantly
re-reading Strunk & White, what are the best ways for writers to
polish their own work with that critical eye? This workshop will
combine discussion, lecture, critique, and exercises to help writers
gain access to their own best self-editors.
In this class we’ll look at the two sides of revision: What can make
it more effective? (You!) And what is likely to get in your way?
(You!) We’ll go over some quick-’n-dirty checklists but then also get
into the psychology of revision, issues of attachment to one’s own
work, and what dream interpretation might have to do with being a
good reader for yourself. Be prepared to be revised. Not your work.
You. There may be pre-class homework for this one, but not much.
Recreating Dialogue in Memoir | shari caudron
john cotter
Dialogue in nonfiction carries the same challenges as dialogue in
all other genres. It must be dramatic, revealing, surprising, and fit
the character. The added burden: it must also be true. But unless
you’ve always carried a tape recorder, you probably don’t have
verifiably accurate quotes for everyone who might appear in a
story. This workshop will help you understand how to recreate
dialogue that is emotionally true, fitting to the character, and as
truthful as you can make it. We’ll also look at how to use dialogue
effectively and how to avoid traps.
Reading as a Poet | lynn wagner
We’ve always known that our best teachers are the writers on our
bookshelves, and what higher inspiration than poetry—even for
prose writers? There’s a method to reading as a poet, and it’s distinct
from reading as a prose writer. Learn three key ways of reading
poetry to increase your understanding and enjoyment of the form
and kick start any type of writing.
Read=Publish: Polish and Place your Book Reviews
Itching to break into publishing but unsure where to start? Why
not turn the last good book you’ve read into your first published
piece? Contrary to what you may have heard, book reviews are
flourishing online and, yes, in print. Reviewing isn’t just about
money—though the possibility of getting paid is real—it’s also
about reading more closely, becoming part of the larger conversation across the Republic of Letters, and accumulating publication
credits. With luck you’ll never read, or write, the same way again.
Thursday, June 14, Evening Sessions (5:00 pm to 7:30 pm)
The Longest Distance: Putting Your Ideas on the
Page | mario acevedo
It’s been said that the longest distance your ideas will ever travel is
from your head to your hands. We’re writers and we live to write—
or so we say. Then why don’t we write? Why are writers masters
of procrastination? In this workshop we’ll discuss self-defeating
behaviors, head trash, and those other nasty demons that keep
hijacking our motivation. More importantly, we’ll discuss techniques to shorten the distance between your head and your hands.
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Writing Transitions | rebecca berg
In this workshop for prose writers, we’ll start by generating a list
of little phrases that work as derailleurs (in a good sense), shifting
a narrative in and out of scene and summary, front story and back
story, reflection and dialogue. But then we’ll shift gears! Sometimes
we prose writers can get into trouble being too utilitarian: I need
to build a bridge so that I can get to the good stuff. Passages that
exist only to serve other passages tend to die on the page, so this
workshop will be about learning to love every word. We’ll consider
transitions that work by effacing themselves and transitions that
work by not existing and transitions that work through sheer flamboyance, and maybe we’ll even find one or two that illustrate the
nature of the problem by going clunk. We’ll finish with an exercise.
Blogging for Fun, Platform, and Craft | jason
Friday, June 15, Early Evening Sessions (5:00 pm to 7:30 pm)
heller
The Writer’s Voice in Fiction and Nonf iction
Truth into Fiction: Making Art of What Really
Happened | john cotter
Do different genres require different aesthetic registers? Anyone
who writes fiction or creative nonfiction soon learns that voice is
a key element in making the work come alive. We’ll investigate
what makes a compelling voice in each genre, how the effects of
voice change from one form to the other, and how voice aligns all
the other aspects of craft that go into a finished work of fiction or
nonfiction.
Blogging was once a dirty word in the writing world, but now it’s
as respectable as it is indispensable. Your blog is your writing garden, one that you should till, tend, harvest, and share. In this class,
the basics of blogging will be covered, as well as the benefits they
provide in regard to writing skills, momentum, and networking.
We’ll explore how to turn real characters and situations into fiction
with shape and energy. All fiction writers use reality to inform their
work, just as all memoirists must be adept at imposing the structures of fiction onto life in all its untidyness. We’ll discuss locating
the center of your story; spinning crisp and absorbing dialogue
from remembered conversations; and how to find the dramatic
through-line in messy and interconnected stories. We’ll also talk
about vividly evoking settings; where to stand on point-of-view
questions; and how to usefully alter and evoke your subjects.
14 Exercises and recommended reading included.
steven schwartz
Bottling Lightning: How to Turn Your Spark of
Inspiration into a Fire | jason heller
Do you have a great idea for a story, a book, or even a new life as a
professional writer? This seminar will help you fan that spark into a
flame. Motivation, goal setting, coping mechanisms, organizational
tools, and how to harness your muse will all be covered in this practical yet inspiration-driven class, perfect for writers of any level.
Tracking Down and Pitching Stellar Magazine
Stories | joel warren
Finding the nugget of information that becomes a successful
long-form story is the hardest part of a narrative nonfiction writer’s
job. Using examples from his five-year career at Westword, as well
as from features he’s written for Wired, Slate, Salon and 5280, Joel
Warner will walk students through the complicated process, from
beating the pavement and hunting down story leads to crafting a
winning pitch.
Adrenaline: Writing About the Gruesome and
Grisly | seth brady tucker
Whether you are writing about your own experiences or those of
family or friends, sometimes the hardest thing to express well in
writing is the violent and horrific. Sometimes we feel “too close”
to the experience, or perhaps we fear we will be unable to render
the experience well enough in our writing. This one day seminar
is designed to take the traumatic experiences of war, violent crime,
grisly accidents, etc. and learn to honor the truth of the experience
in our writing. And we might just learn a thing or two about the
transformative power of the written word as we do it.
Monday, June 17, Afternoon Sessions (2:00 pm to 4:30 pm)
Power Plotting | shari caudron
Almost every great story that has stood the test of time has followed
the dramatic three-act structure first identified by Aristotle in the
Poetics. This workshop will help you think through your own story’s
narrative in terms of what must happen in the beginning, the
middle, and the end. After discussing the three-act structure and
viewing some short films (to see these stages in action), you’ll be
led through a power plotting exercise to identify the plot points in
your own essay, short story, novel, or memoir.
Fragments of our Imagination | seth brady tucker
We will examine the (sometimes very) close relationship between
the prose poem and flash/short-short stories. The seminar is open
to both fiction writers and poets! Together we’ll discuss how these
forms are able to exist in such close proximity, and we will examine
how each genre is crafted, identified, and mastered. Plan to bring in
a draft of one of your own prose poems/short-shorts/flash pieces for
a short workshop on the forms.
Managing Time in Stories | paula younger
Some writers are afraid of venturing out of chronological time in
stories and memoirs. But instead of transitioning using objects or
an “and next” attitude, the best stories and memoirs use emotional
transitions. We’ll study successful passages in fiction and memoir,
and then experiment with our own writing. Fear time no more!
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Monday, June 17, Early Evening Sessions (5:00 pm to 7:30 pm)
But How Did You Feel? The Reflective Voice in
Memoir | shari caudron
As a memoirist, it’s not what you did that matters. It’s how you
felt about the experience—what you wanted, how you struggled,
how you learned and changed and grew. Unfortunately, most
memoirists struggle to understand and articulate their emotions.
In this workshop, we’ll read the work of accomplished memoirists
to learn how to capture emotion on the page, and then move
through a series of free-writing exercises to help you uncover the
emotional arc of your particular story.
Secrets of the Short Poem | lynn wagner
Is Shakespeare right that brevity is the soul of wit? Poets like
Lucille Clifton, Kay Ryan, and Stevie Smith sure seem to think
so, as do any number of ancient and contemporary haiku masters.
All have excelled at writing the minimalist poem in different ways,
each while delivering maximal depth. We’ll look at their successful
strategies, discuss their poems, and write our own tiny poems of
40 words or fewer.
Writing in Your Sleep | julene blair
This is not the slacker’s guide to writing, but encouragement to
look to your dreams for wisdom. Stymied in your work? Unsure
what you’re actually trying to say? Sometimes dreams can lead us
to the answers. Dreams can be doors onto wisdom, giving our
work significance and depth. In this workshop, you’ll hone in on
a single, luminescent image from one of your own dreams and
experiment with a drafting and revising process that will reveal the
image’s symbolic power.
Start with the Diamond: The Premise of a Great
Novel | mario acevedo
Your brain is bursting with ideas for a wonderful novel—your big
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breakthrough. But you’ve been here before. A hundred pages
into the manuscript, you peter out. Those great ideas stagnate and
your plot turns into a soggy mess. In this workshop we’ll discuss
how theme and character motivation drive the story. We’ll drill
through your plot to find the true premise—the diamond—that
you can build your story around. Participants are invited to bring
an outline for a novel that we’ll discuss to find the diamond.
Tuesday, June 18, Afternoon Sessions (2:00 pm to 4:30 pm)
Shouts and Murmurs: Writing Humor | jenny shank
Have you ever wanted to write one of those funny pieces you see
in McSweeney’s Internet Tendency or The New Yorker’s Shouts &
Murmurs column? Jenny Shank, whose funny stuff has appeared
in The McSweeney’s Book of Politics and Musicals, The Rumpus, Bust
Magazine, and The Onion A.V. Club, will help you tap into your
inner weirdness and come up with some great ideas for comedy.
We will also discuss the many online and print venues waiting to
publish your funny stuff.
Ore to Mine: New Material for Creative
Nonf iction | vicki lindner
Many writers approach short nonfiction as a place to explore a
crucial loss, serious illness, or trauma. Not always the case! There
are famous essays and short memoirs written about topics as diverse
as a personal book collections, nose rings, or headaches. This workshop will help writers access new subjects with secret depths that
offer exciting opportunities for investigation and reflection.
Writing the One Act Play | terry dodd
Like great short stories, one-act plays waste no time in telling
their tales. Work with playwright and screenwriter Terry Dodd in
polishing the one-act structure, magnifying conflict, finding active
verbs, and heightening tension through dialogue. Finding what
constitutes a good short play (10 to 20 pages) and putting that on
stage is at the heart of the workshop. Writers will bring their ideas
to the class and, through a series of exercises, will develop a short
script of their own.
Say it Like You Mean it: Performance Skills for
Writers | david rothman
All poets and writers are eventually called upon—one would
hope—to read their work in front of the teeming crowds, yet few of
us have any formal training in public speaking. This intensive gives
you some fundamental strategies you can develop in your career as
writers, teachers, or critics. You will gain an enhanced understanding
of the craft of using your voice and your physical presence to deliver
your work across the air to the public, and how to participate in
public conversations with the greatest possible skill and grace. Please
bring something brief by someone else, and something brief by
yourself that you would like either to perform or recite.
Tuesday, June 18, Early Evening Sessions (5:00 pm to 7:30 pm)
Crafting the Emotional Moment: Why You Started
This Thing* | gordy hoffman
Writers often understand how our stories must emotionally engage
an audience, but it’s the last thing we want to do. How can a professional command themselves to reach down deep for the authentic,
original and vulnerable truths of living life and employ them at
service to the story? What are the personal demands in the writing
process on your own life experience and more importantly, do you
respect them? This seminar will help the writer confront where they
come up short with their own personal investment in their work.
Kicking it Old School: Language, Lines, and Lessons
from the First English Poets | david rothman
In Annie Hall, Woody Allen famously remarks to Diane Keaton,
“Just don’t take any course where they make you read Beowulf.”
Perhaps he didn’t understand how much fun it is when you know
how it works. This seminar will introduce participants to the
fundamental ways in which poets organize language into lines, and
then look at the way English poets first did it. That English tradition
is very much alive in modern poets as diverse as W. H. Auden and
Robinson Jeffers, and in contemporary writers such as Pulitzer Prize
winner Richard Wilbur. Join us and learn the ins and outs of stress,
along with how great Beowulf can actually be (along with Caedmon,
the Pearl Poet, Langland, Chaucer, Gerard Manley Hopkins, and
many others).
Becoming a Specialist: Writing (and Prof iting)
Based on Expertise | joel warren
Niche writing seems to be the name of the game in the freelance
business these days: Find a subject area and milk it for all it’s worth.
Having landed geeky stories in Slate, Wired, Wired.com, not to
mention a book deal on humor research, Joel Warner found success
in mining academia for great nonfiction. But in the wake of Jonah
Lehrer’s fall from grace, folks are asking tough questions about
whether journalists have the wherewithal to pass themselves off as
experts in cerebral subject matters. Using examples of great—and
not-so-great—specialty journalism, Warner will discuss the right and
wrong way to become a writerly authority.
Wednesday, June 19, Afternoon Sessions, (2:00 pm to 4:30 pm)
Revising for More Powerful Prose | amanda rea
Poet Marianne Moore said, “I am governed by the pull of the
sentence as the pull of a fabric is governed by gravity.” In this
workshop we’ll examine our sentences (along with the paragraphs,
metaphors, imagery, and tone they create) with an eye toward
creating the irresistible pull of great prose. Participants should come
prepared with a story or chapter they’d like to revise.
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Push Upstairs: Recovering our Stories
richard froude
Our lives are made up of stories. Sometimes without thinking we
choose which to rely on, which to let go. This generative workshop
is for anyone interested in drawing on autobiographical material for
any purpose, be it memoir, nonfiction, fiction, poetry, or anywhere
in between. We will engage memory, language, and imagination to
uncover our most powerful stories: some known, some forgotten,
each one unquestionably our own.
Creating a Scene | paula younger
We’re often trained not to make a scene in daily life, or else we
might be down a few family members and friends. But in fiction
and even nonfiction, we need to create scenes to engage the reader
and delve into the emotional truth of a moment. We’ll examine
some potent scenes in literature and then get to the emotional truth
in our own writing. Let’s create a scene together!
Writing Life Wheel | doug kurtz
Need some momentum in your literary life? Give yourself a push
with this discussion and activity-based workshop, led by novelist/
coach Doug Kurtz. You’ll learn how to use the Writing Life Wheel,
a powerful coaching tool for achieving balance, focusing energy,
and tracking progress in all aspects of your writing life. Leave class
with your personal wheel well underway, including daily practices
to keep you motivated and inspired, and attainable goals to keep
you rolling smoothly into the future.
Wednesday, June 19, Early Evening Sessions
(5:00 pm to 7:30 pm)
Microstructure for Your Book | jenny shank
Are you writing a novel, memoir, or nonfiction book, and enjoying
the process of writing scenes and chapters, but are intimidated
about how to make the whole thing come out with a satisfying
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and elegant structure? Never fear—in this seminar we’ll delve
into ways to focus on the microstructure of your book so that
the macro structure semi-magically takes care of itself—just add
a decade or so of toil. Ha! We’re kidding. (Sort of.) We’ll look at
how to hook the reader by withholding information from our
characters; study ways that meaningful objects can build a thematic scaffolding as they recur; and how Jerome Stern’s concept
of “position,” employed on a scene-by-scene basis, can help with
overall pacing and momentum. We’ll sweat the small stuff so that
we’ll no longer have to perspire over the big stuff.
Bringing the News (and Opinions): Writing Political Poetry | judith pacht
William Carlos Williams made the famous observation, “It is
difficult to get the news from poems, yet men die miserably every
day for lack of what is found there.” There’s a long and passionate
history of poets writing politically tinged poems. We’ll look at
political poems by Pablo Neruda, Philip Levine, Jane Hirshfield,
Carl Dennis, and others and examine the strategies they used in
their writing. With close reading we can evaluate what worked
and why, and what didn’t work and why. Each participant is
invited to bring a political poem he or she finds effective (or not!)
and we’ll look at that, as well as taking a stab at generating our
own political verse.
Story-Generating Tools | doug kurtz
Out of story material? Lost the plot? Missing the big picture?
Don’t just sit there staring at the screen, bleeding from your forehead—reach into your shiny new toolbox for an idea-generating,
problem-solving, connection-making creativity tool and watch
the ideas start to flow. In this demonstration and exercise-based
class you’ll learn innovative ways to employ freewriting,
mind-mapping, starbursting, reverse brainstorming, and other
techniques to blow the lid off writing problems and push your
material into fresh new territory.
A Perspective on Perspectives: POV and the Writer
michael nye
Point of view can be deceptive—it seems like an obvious decision:
first, second, or third, singular or plural, close or distanced. But the
more a writer plays with perspective, the more complicated everything gets. Join fiction writer and Missouri Review editor Michael
Nye for this close look at how you might find the right POV for
each project, and why it matters so much.
Thursday, June 20, Afternoon Sessions (2:00 pm to 4:30 pm)
Everyone Has Two Ears: Writing Great Dialogue*
gordy hoffman
We’ve all heard that some writers have an ear for dialogue. Do you
fear you might be a writer who just doesn’t? Take heart. Here’s
where screenwriters can help all writers. We have tricks of the trade
that can be borrowed (as long as they’re returned). This seminar will
show you how to write exceptional dialogue, whether you think
you have exceptional skills or not.
Rhyme: Crime or Sublime? | david rothman
John Milton famously called rhyme “the invention of a barbarous
age,” and many contemporary poets might agree. But the closer one
looks at rhyme, the more mysterious and fascinating it becomes.
If we think of rhyme the way many linguists do—as the entire
universe of similar sounds among words, whether in the beginning,
the middle, or the end of the word—we soon realize that rhyme
includes not only the words cat and bat, but also cat and coat,
along with cat and hand…and things just become more and more
complex from there. Rhyme may be almost impossible to escape
and the real question is simply how to manage it. This class will
explore all of the many varieties of rhyme and the ways in which
poets and writers (including prose writers) use it—or purposely
avoid it—today. If you have the interest and the time / come learn
about rhyme.
The Writer’s Eye: Storytelling through Pictures and
Words | karen coates
Pictures can help nonfiction writers enhance their storytelling in a
variety of ways. This workshop will focus on the use of images from
both a practical standpoint (in fact-checking and detail observations)
and a creative standpoint (learning to view the world through a
photographic lens). We’ll talk about light and how it alters a scene,
hour by hour. We’ll discuss techniques for framing, in photography
and writing. And we’ll look at the ways in which a photograph can
inspire entire ideas for stories, even books.
Thursday, June 20, Early Evening Sessions (5:00 pm to 7:30 pm)
Endings: Cracking the Code | amanda rea
We’ve all heard the rules about endings: they must be surprising,
they must be inevitable, they must tie up the loose ends, but not
too neatly. In this workshop, we’ll explore ways of ending our stories
organically, and powerfully, listening, as Molly Giles says, “with the
patience of a safecracker…until—and there is no other way for me
to describe it—you hear ‘click’ and the treasure box opens.” Participants should bring at least one complete story (or final chapters of a
larger work).
From Ideas to Nonf iction Books: A Step-by-Step
Guide to Getting Started | karen coates
You’ve done all the work. You’ve gathered all the information. Your
head is swimming with thoughts. Now what? How do you turn
all that data into a salable book or long-form story? Sometimes it’s
hard to get a handle on the big picture. Participants will learn tools
for synthesizing information into succinct summaries of the book
or long-form story they want to write, and for pitching that idea in
the appropriate places. They will learn to organize research along
themes, chronology, or geography. And they’ll dip their toes into
the entire process of querying agents and editors, putting together a
book proposal and finishing the darn thing.
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Prose Poetry: The Gateway Drug | steven wingate
This broad and inventive hybrid-genre form offers writers the
best of both worlds: the musicality of the poem and the narrative
impulse of prose. Through looking at examples and original work,
we will explore how the form works, how to revise it, and how to
build works into cycles.
Salons
The literary salon has been a tradition at Lit Fest, featuring three
or more speakers with varying perspectives on a theme, along with
audience participation. We used to hold these informal and dynamic
evenings in private rooms at restaurants around town, but now we
repurpose the Lighthouse Grotto with mood lighting, food, and drink
to give it a speakeasy glow. A tradition arose last year in which salon
attendees gathered on the wraparound porch for drinks prior to the
session. Feel free to stop by around 7:30 for the pre-party!
each session is $20/members, $30/non-members, or free
to any lit fest pass holder
Saturday, June 8 (8:00 pm to 9:30 pm)
That’s Not Funny: How Far is too Far?
steve almond, troy walker, christine lederman
Writers of comedy often find themselves balanced on the precipice
between hilarity and offensiveness, stepping ever closer to that edge
of what’s funny, what’s not funny, and what’s so not funny—all
the while dealing with how naturally attractive it is to (sometimes)
make us laugh. Join us and our seasoned comedy vets as we talk
PC, taboo, and just how far is too far in writing comedy.
Tuesday, June 11 (8:00 pm to 9:30 pm)
The Contagious Art: Writers Who Paved Our Way
seth brady tucker, william haywood henderson,
david rothman, julene blair
“You make the thing because you love the thing,” writes poet
Thomas Lux, “And you love the thing because someone else loved it
enough to make you love it.” This salon will be an open discussion
by a panel of four writers about the books, poems, and stories that
inspired them to write. Bring your own inspirations to share as well
in this fun and dynamic salon.
Thursday, June 13 (8:00 pm to 9:30 pm)
Yes You Can: Writing in a Subjective World
vicki lindner, catherine hope, robin black, mario
acevedo
Art is the definition of subjectivity and the marketplace can be a
fickle mistress. When he visited Lighthouse, Junot Díaz recommended that writers reject the “economy of approval,” but how do
writers do that? Can the passion for art overcome the burn of criticism and rejection? Where do careers and financial concerns come
in? This panel takes on what many writers don’t talk about—rejec-
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tion, acceptance, criticism, holding true to your convictions, and
enduring it all as artists. Our panelists will share their own tales of
surviving the slings and arrows of this subjective art.
Monday, June 17 (8:00 pm to 9:30 pm)
20/20 Hindsight: What We Wish We’d Known
About Writing
steven schwartz, lynn wagner, and mystery guest (TBA)
After years in the trenches of the writing life, it’s not unusual to
look back and take stock. Were there things that, had we known
them, could have made life easier? Like, what about that fellowship
you didn’t take? The fishing trip you did take? Was there a better
method all along, something involving a yellow legal pad and Bic
pens, exclusively? Join our panel of upbeat veterans as they talk
about what they wish they’d known, so the rest of us might benefit.
Wednesday, June 19 (8:00 pm to 9:30 pm)
The Scent of a Woman’s Ink: The Question of Gender
Bias in Publishing
amanda rea, nick arvin, and jenny shank
In Francine Prose’s manifesto for Harper’s, “Scent of a Woman’s
Ink,” she tried to unpack Norman Mailer’s contention that he
could “sniff out the ink of the women.” (He didn’t like what he
smelled.) Every year the statistics are pretty bald: women get published less than men, reviewed less than men, and yet they’re the
ones overwhelmingly buying books and reading them. What’s the
story, here? Are fewer women writing? Are fewer submitting? Or
are they treated differently by readers and the industry alike? Come
with your own opinions and listen to our esteemed panel hash out
this timeless question that we hope will be soon outdated!
Business Panels & Brown-Bags
Throughout Lit Fest, we’ll be holding brown-bag panels and
seminars focused on the business end of writing—finding an agent,
submitting to literary magazines and journals, and new trends in
publishing. You can get an All-Access Business Pass to everything,
or pick and choose which brown-bags or panels you’d like to
attend. (see Pricing & Registration section)
brown‐bag business panels
Friday, June 14 (12:30 pm to 1:45 pm)
Talking Points: How to Approach an Agent
paul lucas ( Janklow & Nesbit), michelle brower, and
possibly others
Say you really like an agent but don’t know what to do about it.
We’ll bring real, live agents from New York and elsewhere who can
run a clinic on the dos and don’ts, the whys and wherefores. Bring
questions, curiosities, and your favorite brown-bag lunch.
Monday, June 17 (12:30 pm to 1:45 pm)
Next Generation Narrative: Transmedia and the
Future of Lit | michael catlin, steven wingate, and
erin costello
How are narrative practices being shaped by changes in technology
and distribution? This crew will talk about gaming, interactive
literature, computer-generated texts, and fan fiction. At its worst,
transmedia has been appropriated by advertising to sell, sell, sell. At
its best, it represents some of the most exciting writing of the day.
Join us for this in-depth and multifaceted look at the way narrative
is changing in the new century—and why we should all care.
(Bring your lunch!)
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Tuesday, June 18 (12:30 pm to 1:45 pm)
Insider’s Guide to Publishing: Colorado Edition
sandra bond (Bond Literary Agency), caleb seeling
(Conundrum press), and john zeck (Tattered Cover Press)
Thursday, June 20 (12:30 pm to 1:45 pm)
The Serpentine Path: Writers on Breaking Into
Print | gary schanbacher, cort mcmeel, mia alvarado,
and one mystery guest (TBA)
With NYC just a click away, it’s no longer necessary to live or even
do business in the places most often associated with publishing. But
there’s more to it than that. The business of publishing is making
astronomical shifts as we speak, and authors have more control
than ever of how their work makes its way to the page. What does
the publishing scene in Colorado look like? What are the strengths
of being part it, and what are the limitations? Come ready to explore how writers make the best decisions about where they might
imagine the “center of operations” for their writing career? Meet
some great homegrown publishing leaders, hear what they have to
say, and pepper them with questions. (Bring your lunch!)
Four writers—novelists, experimental writers, and a poet—will
talk about the topsy-turvy route they took to publishing their latest
(and in some cases, first) book. We’ve got authors publishing with
everyone from big New York publishing houses to indie presses,
and they’ve got stories to tell. Learn from fellow writers about what
worked and didn’t in their serpentine path to publicatio.
Wednesday, June 19 (12:30 pm to 1:45 pm)
business seminars
Editors 3 X 5: Three Literary Journal Editors on
Five Subjects Every Writer Needs to Know
michael nye (Missouri Review), sophie beck (The Normal
School), and stephanie g’schwind (Colorado Review)
Join editors from the Missouri Review, Colorado Review and The
Normal School for a discussion of tips and strategies for successful
publishing in literary journals. Each editor will touch on five topics,
with an emphasis on building your understanding of the inner
workings of a literary journal and how you can best target your
work for publication. In addition, the editors will answer questions
from the audience (written on 3 x 5 cards, naturally) and attendees
interested in receiving tailored suggestions about where to submit
their work may place their names (on a 3 x 5 card, naturally) in a
bowl at the door. At least five names will be drawn; give the editors
a brief description of your genre, preferred subjects, and style, and
22 they will suggest three or more journals you should check out.
Please check back for additional brown-bags—with
agent Eleanor Jackson and others—as scheduling solidifies.
Query Letter Clinic | michelle brower (Folio Literary
Agency)
The query letter is a one-page pitch letter—an absolute necessity
for novelists, memoirists, and writers of nonfiction books seeking
agents. Most writers dread writing them, and agencies receive hundreds each week. Most queries elicit no more than a form rejection
letter as response, but there are many things writers can do to avoid
that fate. If you’d like to write a query that excites agents, and if
you’d like to avoid the most common pitfalls, this seminar is for
you. Agent Michelle Brower (Folio Literary Management) will give
a brief talk on what makes an irresistible query letter, and then offer
live responses to the query letters in the room. If, during the reading of the query letter, she would have stopped reading, she tells
participants why and what to do about it. Due to time limitations
we cannot guarantee that all participants will get their query letter
read, but we can guarantee everyone will learn about how to write
a great one.
An Agent Reads the Slush Pile* | kristin nelson
(Nelson Literary Agency)
Have you ever wondered how an agent reads the submission slush
pile? What he or she is thinking during the opening pages? What
makes her stop? What makes her read on? If you have ever wished
to be a fly on the wall during that process, this workshop is your
chance to get the inside scoop without metamorphosing. Agent
Kristin Nelson will do “live” readings of the slush pile contributed
by workshop participants and give honest feedback as to why she
would or would not read on for the sample pages in front of her.
Although all participants will be invited to submit to the slush
pile, we cannot guarantee every piece will be read, but we know it’s
an education for everyone in the room.
*warning: This workshop is not for the faint of heart. A writer
needs to be sure that he or she is ready to hear bluntly honest criticism, no matter how nicely delivered. The point of this workshop
is not to dishearten writers but to give them an honest, inside
look at how an agent really reads the slush pile. Interested participants should submit two copies of each of the first two pages of
their novel. Details will be sent to registrants.
one‐on‐one agent
consultations
Available to gold, silver, and bronze festival pass holders,
full-access business pass holders, and individually for
$60/meeting, if slots remain.
Anyone who has submitted their work to the world knows about
the lag times, the polite declines, and the form rejections. This is
your chance to actually sit down and chat with an agent or editor
to find out what he or she thought when reading your manuscript.
Slots are limited and cannot be guaranteed. Fill out your wish list
and submit your query letter and first chapter (or story, essay, or
poem) by Friday, May 11, and we’ll confirm your meeting schedule
by May 31. Please see the Registration/Pricing page for further
information.
Faculty Bios
Complete bios can be found at our website: www.lighthousewriters.org.
Agent and editor bios are listed separately.
mario acevedo writes the bestselling Felix Gomez detective-vampire series for Eos Harper Collins. His vampire character
is also featured in the graphic novel Killing the Cobra from IDW
Publishing.
steve almond is the author of ten books of fiction and
nonfiction, most recently the story collection God Bless America.
Almond's second book, Candyfreak (2005), was a New York Times
bestseller and won the American Library Association Alex Award
and Booksense Adult Nonfiction Book of the Year (2005).
mia alvarado is the author of Hey Folly (Dos Madres Press). She
was an Iowa Arts Fellow and a Provost's Post-Graduate Writing 23
Fellow at the University of Iowa, where she studied nonfiction.
A former editorial assistant at Harper's Magazine, she teaches at
the University of Colorado at Colorado Springs, is mother to two
young girls, gardens, and makes linocuts. Her website is
marymargaretalvarado.com.
nick arvin is the author of three acclaimed books of fiction—The
Reconstructionist, Articles of War, and In the Electric Eden—and his
work has been honored with awards from the ALA, the NEA, and
the American Academy of Arts and Letters.
julene bair is the author of the award-winning essay collection,
One Degree West: Reflections of a Plainsdaughter. Her memoir, The
Water That Taught Me to Sing, will be published by Viking Penguin
in 2014.
rebecca berg’s fiction has appeared in The Five Fingers Review
and Word Riot, and she has written three novels, each of which has
placed in literary contests and each of which is still in search of a
home. Her latest, Julio’s Ghost, won the 2008 Dana Award in the
Novel.
robin black’s short story collection, If I Loved You, I Would Tell
You This, was published by Random House, and her new novel
is forthcoming. Her work has appeared in The Southern Review,
The New York Times’ Magazine, One Story, Colorado Review, and
elsewhere.
michael catlin is a screenwriter by trade who teaches story
development techniques. His company, Genius Media, Ltd.,
develops and generates transmedia content for entertainment,
business and education.
shari caudron is a freelance writer, who has written over 500
articles and essays in magazines and literary journals, as well as
two books: Who Are You People? and What Really Happened.
karen coates is senior fellow at the Schuster Institute for
Investigative Journalism at Brandeis University. She is author of
four books, and her articles appear in publications around the
world.
24
erin costello is a poet, digital artist, web designer, and the
co-founder of SpringGun Press: a print press for books of poetry,
and a bi-annual online journal of poetry, flash fiction, and electronic literature.
john cotter is Executive Editor at Open Letters Monthly and
author of the novel Under the Small Lights. His short fiction and
nonfiction has appeared in various journals, such as Puerto del Sol,
Redivider, and New Genre.
andre dubus III is the award-winning author of The House of
Sand and Fog, Townie, The Garden of Last Days, and much more.
He was a National Book Award finalist (and Oprah pick) for The
House of Sand and Fog, which was also made into an Oscar-nominated motion picture.
andrea dupree serves as program director at Lighthouse Writers
Workshop and is a recent MacDowell Fellow. Her fiction has
appeared or is forthcoming in Virginia Quarterly Review, Colorado
Review, The Normal School, and elsewhere, and was nominated for a
Pushcart in 2011 and 2012.
richard froude is the author of a book of nonfiction, FABRIC,
and a book of poetry, The Passenger. His nonfiction and essays have
been published by Conjunctions, Witness, Slack Lust, Bombay Gin
and several other journals both in print and online.
victoria hanley is the author of the bestselling book, Seize
the Story: A Handbook for Teens Who Like to Write, and Wild Ink:
Success Secrets to Writing and Publishing in the Young Adult Market
(Prufrock Press, May 2012).
william haywood henderson holds an MA from Brown
University, was a Wallace Stegner Fellow in Creative Writing at
Stanford University, and is the author of three novels: Native, The
Rest of the Earth, and Augusta Locke.
jason heller is a Denver-based writer of fiction and nonfiction
whose credits include the novel Taft 2012 (Quirk Books), The
Onion A.V. Club, Westword, and many more.
michael henry is one of the founders of Lighthouse and holds
an MFA from Emerson College. His work has appeared in Threepenny Review, 5280 Magazine, Pleiades, and Mountain Gazette. His
first collection of poetry, No Stranger Than My Own, came out in
2008.
gordy hoffman teaches screenwriting at USC Graduate Film
School and is the founder of the vaunted BlueCat Screenplay Competition. He wrote the film Love Liza, which starred his brother,
Philip Seymour Hoffman.
catherine hope is a professional editor and has written for
numerous papers and magazines. She specializes in welcoming new
writers to Lighthouse. Her first novel is represented by the Bond
Literary Agency, and she's now at work on her second.
erika krouse has published fiction in The New Yorker, Atlantic
Monthly, Story, Ploughshares, Shenandoah, Glimmer Train, and
Glamour. Her collection of short stories, Come Up and See Me
Sometime (Scribner), is the winner of the Paterson Fiction Award.
doug kurtz earned his MA in creative writing from the University of Colorado and had his first novel, Mosquito, published in
2007; he is at work on his second novel, Hunter Island.
christine lederman is a Denver standup comic and voiceover
artist. A Los Angeles native, she has an extensive background in improv as a performer with The Groundlings and worked as a comedy
staff writer with Dreamworks and Imagine Entertainment.
vicki linder’s novel, Outlaw Games, was published by Dial. Her
short stories and essays have appeared in numerous magazines and
anthologies including Chicklit: Postfeminist Fiction, Ploughshares,
Fiction, The Kenyon Review, among many others.
cortright mcmeel published his first novel, Short (Thomas
Dunne/St. Martins Press) in 2010. He has published short fiction
in Gettysburg Review, Mississippi Review, Chicago Quarterly Review,
Plots with Guns, and more recently The New Guard Review.
michael nye is the author of Strategies Against Extinction, his
debut short-story collection, which came out from Queen’s Ferry
Press in October 2012. His short fiction has appeared in Boulevard,
Cincinnati Review, and South Dakota Review, and he works as
managing editor at Missouri Review.
chris ransick, appointed Denver Poet Laureate in 2006, is the
author of five books of poetry and fiction, including Colorado
Book Award winner Never Summer and most recently, Language for
the Living and the Dead.
amanda rea’s work has appeared in Pushcart Prize XXV, Electric
Literature's Recommended Reading, The Missouri Review, The Kenyon
Review, The Sun, Iowa Review, Indiana Review, and has been
short-listed for Best American Short Stories.
david rothman’s poems have appeared in Poetry, The Atlantic,
The Hudson Review, The Kenyon Review, Appalachia, The Gettysburg
Review, The Threepenny Review and scores of other journals. His
second book of poems, The Elephant’s Chiropractor, was runner-up
for the 1999 Colorado Book Award.
joanna ruocco is the author of several books of fiction, including two historical romance novels (published under the pen name
Alessandra Shahbaz). Her most recent book, Another Governess /
The Least Blacksmith: A Diptych, won the FC2 Catherine Doctorow
Innovative Fiction Prize.
gary schanbacher’s first collection of short stories, the Colorado Book Award–winning Migration Patterns (Fulcrum Books), was
a finalist for the PEN/Hemingway Award. His new novel, Crossing
Purgatory, comes out in June 2013.
steven schwartz, Professor of Creative Writing at Colorado
State University and Fiction Editor at Colorado Review, is the author of five books, most recently, Little Raw Souls (Autumn House).
jenny shank is the author of the novel The Ringer. Her stories,
essays, and reviews have appeared in Prairie Schooner, Alaska
Quarterly Review, McSweeney's Internet Tendency, The Onion, Poets &
Writers, Bust, Michigan Quarterly Review, Image, and elsewhere.
25
john shors has published five novels, Beneath a Marble Sky,
Beside a Burning Sea, Dragon House, The Wishing Trees, and Cross
Currents, which have been national bestsellers and have been translated into twenty-five languages.
seth brady tucker is a poet and fiction writer from Wyoming, and is author of the collection, Mormon Boy, published by
Elixir Press. He teaches at the University of Colorado at Boulder,
and was once a paratrooper with the US Army's 82nd Airborne
Division.
lynn wagner is the author of No Blues This Raucous Song, which
won the 2009 Slapering Hol Press Chapbook Competition. Her
poems have appeared in Shenandoah, 5AM, and Subtropics, among
others.
troy walker is a Denver native who started doing stand-up
comedy six years ago. He is a regular at the Comedy Works and
has been invited to various comedy festivals around the country.
joel warren is a former Westword staff writer who has published
features in Wired, Slate, Salon, 5280 and is co-author of The
Humor Code, a global exploration of the science of comedy to be
published by Simon & Schuster in early 2014.
steven wingate’s debut short story collection Wifeshopping
was published by Houghton Mifflin, and his new work,
Thirty-One Octets: Incantations and Meditations coming out in
2014 from WordTech Communications in Cincinnati. He’s an
assistant professor at South Dakota State University.
david wroblewski’s best-selling novel, The Story of Edgar
Sawtelle, was a 2008 Oprah Book Club pick, a Barnes and Noble
Discover Great New Writers selection, winner of the 2008 Colorado Book Award, Indie Choice Best Author Discover award, and
the Midwest Bookseller Association’s Choice Award.
paula younger’s fiction and nonfiction has appeared or is
forthcoming in 52 Stories, The Rattling Wall, Best New Writing,
The Georgetown Review, The Momaya Review, and Unfinished Works.
She was also a Bronx Writers' Center Fellow.
26
Agents and Editors
agents
sandra bond (Bond Literary Agency) started her agency in
Denver in 1998. Before deciding to pursue a career in publishing,
Sandra was a film and television script analyst in Los Angeles, and
the editor and production manager for a socio-economic research
foundation in Boulder. Sandra works with both first-time and
previously published authors, and she represents adult fiction
in various categories, young adult fiction, and many categories
of nonfiction. On the fiction side she is most interested in adult
literary and commercial fiction, including mysteries and thrillers,
and young adult and middle-grade fiction, including fantasy. She
does not represent adult fantasy, romance, science fiction, poetry, or
children’s picture books. On the nonfiction side she is looking for
interesting science, history, memoir, business, and narrative nonfiction, all written for the general public by credentialed authors who
have a platform. More info: bondliteraryagency.com.
michelle brower (Folio Literary Management) began her
career in publishing in 2004 while studying for her Master’s degree
in English Literature at New York University, and has been hooked
ever since. During that time, she assisted the agents Wendy Sherman and Joelle Delbourgo, and found herself in love with the process of discovering new writers and helping existing writers further
their careers. After graduating, she became an agent with Wendy
Sherman Associates, and there began representing books in many
different areas of fiction and nonfiction. In 2009, she joined Folio
Literary Management, where she is looking for literary fiction,
thrillers, high-quality commercial fiction that transcends genre,
and narrative nonfiction. She enjoys digging into a manuscript and
working with authors to make their project as saleable as it can be,
and her list includes the authors S.G. Browne, Rebecca Rasmussen,
Dana Gynther, and Tara Conklin among many others.
She’s currently looking for literary fiction, “book club” fiction,
upmarket women’s fiction, and literary thrillers. She selectively
works on narrative nonfiction and young adult novels. She loves
authors who are passionate about making their manuscript better
and doing all they can to promote their work.
eleanor jackson (Markson Thoma Literary Agency) joined
the Markson Thoma Literary Agency in 2008. Previously, she was
an agent at the Queen Literary Agency and at InkWell Management. She is a graduate of Colby College and the Columbia
Publishing course. Her list includes bestselling authors of fiction
and nonfiction in a wide range of categories, including literary (see
fellow Lighthouse Lit Fest presenter David Wroblewski—The Story
of Edgar Sawtelle), commercial, young adult, memoir, art, food,
science, history, and illustrated/lifestyle. She looks for books with
deeply imagined worlds and for writers who are not afraid to take
risks with their work. More info: www.marksonthoma.com.
paul lucas (Janklow & Nesbit) joined Janklow & Nesbit’s legal
department in 2007. He first started representing authors in 2011
and is now eagerly expanding his graphic, fiction and nonfiction
lists. In fiction, he loves a well-told story featuring strong lead characters. He seeks both literary and commercial fiction, with a focus
on literary thrillers, science fiction and fantasy. On the nonfiction
side, he loves narrative histories of ideas and objects, as well as
biographies and popular science. Clients include award-winning
scholar, historian and documentarian Henry Louis Gates, Jr.; New
York Times bestselling former intelligence officer, Robert Baer; Rho
Agenda series author Richard Phillips; Popular Science contributing
editor Brooke Borel; John Burley (The Absence of Mercy, forthcoming with Morrow) and New Yorker cartoonist Ben Schwartz, among
others.
kristin nelson (Nelson Literary Agency) founded her agency in
2002. Being an avid reader practically since birth, Kristin is equally
happy reading a Pulitzer prize-winning literary novel for her book
club or a sexy romance novel. Clients include bestselling authors
Jamie Ford, Hugh Howey, Ally Carter, Marie Lu, Gail Carriger,
Simone Elkeles, Courtney Milan, and RITA-award winners Sherry
Thomas and Linnea Sinclair. She is currently looking for literary
commercial novels, big crossover novels with one foot squarely in
genre, upmarket women's fiction, lead title or hardcover science
fiction and fantasy, single-title romance (with a special passion for
historicals), and young adult and upper-level middle grade novels.
When she is not busy selling books, Kristin plays tennis as well as
Bridge, where she is the youngest person in her club. She can also
be found hiking in the mountains with her husband and their dog
Chutney.
Please visit her website www.nelsonagency.com for submission
guidelines and also check out Kristin’s Facebook page www.
facebook.com/agentkristin and popular blog nelsonagency.com/
pub-rants/.
Please check our website for more agents as
June approaches. We will be adding 2–3 more.
27
editors & publishers
sophie beck is a founding co-editor of The Normal School, a
bi-annual journal featuring nonfiction, fiction, poetry, criticism
and culinary adventure journalism. Her work has appeared in Poets
& Writers, Film Quarterly, River Teeth, Fourth Genre, Post Road, and
elsewhere. The Normal School likes quirky, boundary-challenging,
energetic prose and poetry with innovations in content, form, and
focus, which isn't actually as highfalutin as it sounds. They’re just
sort of the lit mag equivalent of the kid who always has bottle caps,
cat's eye marbles, dead animal skulls, little blue men and other
treasures in his or her pockets. Sophie will meet with a select number of prose writers. More info: thenormalschool.com.
stephanie g’schwind, editor of Colorado Review, has worked
in publishing since 1992. She started as a copyeditor for a curriculum company in Loveland, and then became Senior Production
Assistant at Indiana University Press. She began working for
Colorado Review in 1998 as the Managing Editor; in 2003, she
was promoted to Editor and Director of the Center for Literary
Publishing at Colorado State University. In addition to editing
Colorado Review and the Colorado Prize for Poetry book series, she
runs an internship for graduate students to learn basic publishing
skills. More info: coloradoreview.colostate.edu/colorado-review.
michael nye, editor of Missouri Review, please see his writing
bio under faculty. The Missouri Review, which was founded in
1978, is one of the most highly regarded literary magazines in the
United States. For the past thirty-four years they’ve upheld a reputation for finding and publishing the very best writers. They are
based at the University of Missouri and publish four issues
each year. More info: www.missourireview.com.
caleb seeling, publisher at Conundrum Press, is accepting
poetry, fiction, and creative nonfiction—both essay and long-form
works—primarily from authors who live in the Rocky Mountain
region. As Conundrum branches out from poetry into other litera-
28
ture, they’re looking for thoughtful, provocative, and lucid writing
that tells a compelling story. More info: condundrum-press.com.
john zeck is the director of Business Development for Tattered
Cover Press, which features the Espresso Book Machine (EBM)
capable of printing, binding, and trimming paperback books with
full-color covers. For more information on Tattered Cover Press,
check out www.tatteredcover.com/printondemand.region.
Pricing & Registration Information
all‐access passes
(You must be a current member to purchase any all-access pass.
Standard membership is $50.)
GOLD FESTIVAL PASS*:
$1,140
ALMOND GOLD PASS*:
$975
Includes a one-week intensive t Five craft seminars t All salons and
parties t All-Access Business Pass t Meeting with agent (optional)
t15% discount on any additional workshops
Includes the one-weekend juried intensive with Steve Almond
t Five craft seminars t All salons and parties t All-Access Business
Pass t Meeting with agent (optional) t 15% discount on any additional workshops
*Requires application and admission into week-long or Almond juried
workshop. The priority deadline for applying is March 18, 2013. Please
see details on our website: www.lighthousewriters.org.
SILVER FESTIVAL PASS:
$940
Includes two-weekend intensive t Five craft seminars t All salons
and parties t All-Access Business Pass t Meeting with agent (optional) t 15% discount on any additional workshops.
BRONZE FESTIVAL PASS:
$820
Includes a one-weekend intensive t Five craft seminars t All salons
and parties t All-Access Business Pass t Meeting with agent (optional) t 15% discount on additional workshops or offerings.
other offerings Member rate/Nonmember rate
One-Week Juried Intensives
Two-Weekend Intensives
One-Weekend Intensives
Craft Seminar Five-Pack
Craft Seminars
Kick-Off Party, Final Shindig
Salons
Individual Business Brown Bags
Business Seminars
Participant Readings*
Author Readings
$595/645
$345/405
$190/250
$285/320
$65/75
$30/40 (dinner+drinks included)
$20/30 (appetizers+drinks included)
$20/30 (bring your lunch and join us)
$65/75
Free
Free
*Participants must sign up in advance—e-mail [email protected].
Space is limited to 12 readers each over two nights, and priority goes to those
attending any of the week-long, two-weekend, or one-weekend intensives.
business passes
FULL-ACCESS BUSINESS PASS
(with AGENT MEETING): $250/$300
Includes all business seminars plus one-on-one consultation with
agent or editor.
BUSINESS PANEL PASS (NO AGENT MEETING):
$190/$230
Includes access to all business brown bags and seminars (no agent
meeting).
ONE-ON-ONE AGENT CONSULTATIONS*:
$60/$90
*These are open to participants holding Gold, Silver, Bronze, and
Full-Access Business passes only. If additional spots remain, single slots
could be opened up. Find more information in the agent section and on
our website.
Though we cannot guarantee it, we will try to accommodate your preference of agents.
cancellation policy
If you need to cancel a non-juried workshop or seminar for any
reason, the following refund schedule applies:
t.PSFUIBOUISFFXFFLTCFGPSFTUBSUEBUF"DBODFMMBUJPOGFFPG
10% of the total workshop cost applies.
t-FTTUIBOUISFFXFFLTCFGPSFTUBSUEBUF25% cancellation fee
applies.
t-FTTUIBOPOFXFFLCFGPSFTUBSUEBUF35% cancellation fee
applies.
t48 hours or less before class start: No refund is available.
For juried workshops, the $50 application deposit* and the $150
non-refundable acceptance deposit (which people pay in order to
accept a spot if it’s offered) are not refundable. Of the remainder,
any cancellation received more than one month before start date
will receive a 50% refund. Less than one month there is no refund
available, and any balance due will still need to be paid in full.
Most likely, at that point, the instructor—and classmates—will
have already read and prepared your submission.
Sorry, but ticket purchases for passes, special events, agent meetings, business panels, and salons are non-refundable and non-transferable. Any and all amounts paid for a workshop or other offering
are also non-transferable.
*If participants are offered a spot in a juried workshop and decide
not to take it, these deposits are non-refundable; those not offered
a spot get the $50 refunded or as a credit for other offerings, as
explained with the application.
29
Lighthouse Writers Workshop
1515 Race Street
Denver, CO 80206
www.lighthousewriters.org
About Lighthouse:
Lighthouse Writers Workshop is a 501(c)3 nonprofit
corporation and independent creative writing center,
devoted to the art and craft of writing and the
promotion of literature in all its forms.
Lit Fest 2013 would not have been possible without the
help of our generous supporters:
Nonprofit Org.
U.S. Postage
PAID
Permit No. 2062
Denver, CO

BOOK FAIR - Lighthouse Writers Workshop

Transcription

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