Choose one from the following six, all-day Intensive classes.

Each class runs 10​:00 - 4:00 on Friday only.

FRIDAY - July 12, 2019

Day 1


William deBuys

The Writer's Toolbox

Writing is both an art and a craft. The art may lie beyond the reach of teaching, but the craft does not. This one-day intensive will focus on the tools essential to good writing, be it fiction or non-fiction. We’ll discuss such essentials as tension, character, sense of place, and voice, among others. Time being short, we will only write a little. Participants will also be asked to bring a paragraph of prose that they find particularly inspiring, and we will spend part of our time exploring the elements of craft that make those paragraphs so effective. Come prepared to listen hard, to think, to share your thoughts, and also to laugh. The revelations of good writing can be amusingly paradoxical. To paraphrase the poet Lew Welch: “Everything important in life that I have learned I discovered by myself, and somebody showed it to me first.”


Connie Josefs

Who's Talking? - The Narrator in Memoir

   “Get the narrator and you’ve got the piece.” —Vivian Gornick


The narrator’s voice is central to the success of any memoir. It releases the story from the raw material of our lives and illuminates shape, forward movement, tone and theme. How do we find the right voice to tell our story? And what is the connection between the one who is speaking and what is being said? 


In this workshop, we will explore the concept of narrator as persona, a construct that emphasizes certain parts of ourselves and omits others. We will also explore the assets and liabilities of writing in first person and examine how writers have utilitzed this point of view to maximum effect. Class format includes readings, discussion and writing exercises. Experienced and aspiring writers welcome.


(Note: Participants are welcome to bring a few pages from their memoir to work on in class, though this is not required.)

Allegra Huston


Telling Your Story With Heart

My workshop will focus on memoir, and on infusing story with emotion. I believe that writing only what you know often leads to dull writing; the key is to find what you don’t already know, the aspects of your story that haven’t already taken solid form. The workshop will include at least three timed writing exercises from prompts that I will give, along with group discussion. All work read aloud will be generated in the workshop, so we will not be critiquing one another’s work. We will be looking only for what pops, for nodes of energy in our writing. I guarantee that you will surprise yourself!

William Haywood Henderson


Landscape, Emotion, and Meaning

“The truest art I would strive for in any work would be to give the page the same qualities as earth: weather would land on it harshly; light would elucidate the most difficult truths; wind would sweep away obtuse padding.”—The Solace of Open Spaces, Gretel Ehrlich. The landscape you employ in your writing can be much more than just a backdrop; landscape can embody the emotion of your characters, the mood of your story, and the themes running through your art. In this workshop, we’ll study the works of writers who use landscape expertly, then learn techniques to put the landscape to its deepest, richest use in your own writing. 


Andrea Watson

Discover Exciting and Innovative Forms in Poetry: 

Andrea Watson, 3: A Taos Press, Instructor

As a publisher, I always am delighted to see form poems included in a poetry submission. To that end, this workshop will explore imaginative forms in poetry, both ancient and modern: luc bat, ghazal, haibun, glosa, beau présent, paradelle, waltz wave, and others, time permitting. Participants will be offered guidance in each form, numerous samples, and adequate time to write their own forms of choice. 

I also am available to offer general comments and overviews on manuscripts during the conference for participants in this class. 


Rob Wilder

How to Write an Honest YA (or Crossover) Novel

According to Publisher’s Weekly, 55% of YA books are purchased by adults. Would classics like Catcher in the Rye or To Kill A Mockingbird be considered Young Adult fiction if published today? Does any of this matter if you are trying to write a novel with a teenage protagonist? In this immersive one-day workshop, we will discuss how to approach writing for and about teens and how voice can act as an organizing principle when thinking about expansive forms like the novel. In addition to varied (and fun) writing exercises to further our own work, we will also look at a smattering of YA authors whose fiction appeals to a wide range of readers.