Whether it’s Negan laying down the law with Lucille, Luke looking into Anakin’s eyes for the first and the last time, or Harry confessing his love to Sally as the New Year’s Eve ball drops, these types of scenes carry great energy and purpose, but a heavy pen can lead to unwanted melodrama or sentimentality. In many ways, fight scenes, death scenes, and loves scenes are the hardest to write, but they are so often necessary for the stories we want to tell. In the “Fight Die Love” workshop, attendees will review and emulate techniques used by writing professionals from a diverse range of genres.
Saturday workshops are free and open to the public. Entirely unimpressive refreshments will probably be provided.
What & Who: Fight, Die, Love: The Hardest Scenes to Write, with Laura White
When: Saturday, November 3rd from 10:00AM to 12:00PM
Where: GCC Main Campus, Room LA-141
Why: Because it’s the last Saturday workshop for Fall semester, and you need one last fix to tide you over until February!
October is an important month. There’s Halloween, Oktoberfest, bothNational PizzaandPretzel Month (not to be confused with National Soft Pretzel Month which, as we all know, is in April), National Kick Butt Day (which, sadly, seems more about kicking bad habits and not about, you know, kicking actual butts), and who can forget National Feral Cat Day which follows closely on the heels of National Cheese Curd Day, and how October has the wonderful internal contradiction of being both National Caramel Month and National Dental Hygiene Month, and then there’s the classic National Transfer Money to Your Daughter Day, and National Writing Day on the 20th and National Bologna Day on the 24th and…
What was I talking about?
Right, well, now there’s another important holiday: National Come to a Saturday Morning Creative Writing Workshop Day. We have the perfect choice, too, as Jayme Cook dives into genre writing and offers strategies and activities for building suspense, developing mood, and creeping out an audience.
What & Who: Tricks & Treats of Genre Writing, with Jayme Cook
When: Saturday, October 13th from 10:00AM to 12:00PM
Where: GCC Main Campus, Room LA-141
Why: Because the day before was National Pulled Pork Day and you need to work off some calories.
Aaaaaaand, we’re back for the 2018-2019 academic year. If you’re a newly-subscribed follower of the blog, welcome! If you’ve been with us for a while, welcome back! If you have no idea why you’re on this page or receiving an email notification, consider our meeting destiny/fate/true love and be welcome too. For our first event of the year, Jeff Sanger is going to put on a free Saturday workshop. Description and details below. Hope to see you there!
Certainly, you have an idea who your story is about, but do you know what your protagonist’s favorite color is? If they were sentenced to death, what would they order for their last meal? Trivial considerations? Perhaps. But the better you, the author, know your characters, the more fully they come through on the page for your reader. And readers across all genres love vivid characters. But how do you learn more about your characters? Can your characters be further revealed to you as you write about them? Many writers believe they can.
Even if you know your characters well, the other challenge, of course, is delivering this information to your audience, making sure they understand who your characters really are. Page after page of exposition (telling) about your characters typically leads to a disinterested audience that puts the story down unfinished, that outcome every writer fears. How do you show your readers who your characters are?
Visit our characterization themed Saturday workshop to implement some proven techniques to learn more about your characters and bring them to life on the page.
You’ve got a story to tell! You know what you want the audience to take away from your work. The question is, how do you keep them engaged along the way? Whether you’re writing a short story, a novel, or even a play, tightening up your plot using the dramatic arc as a guide can lead to greater reader engagement with your work. In this workshop we’ll learn about how the dramatic arc works and how you can use this knowledge to create a riveting plot in any work of fiction.
What & Who: Using the Dramatic Arc – How to Keep Your Audience on the Edge of Their Seats, with Jeff Sanger
“We tell ourselves stories in order to live,” Joan Didion begins in her seminal essay, “The White Album.” The essay explores a time in her life in which stories no longer make any sense. What happens when our stories stop making sense, when the narratives we carry, the experiences we’ve had, no longer feel like they’re enough? We do live in a world of chaos, lives of chaos, and if you’re anything like me that chaos can reflect on the page in a way which can seem confusing and daunting, lacking any structure and coherence.
Is it possible to bring order to the chaos, make it work on the page? Let’s take a look at some authors who have struggled with this very dilemma, have struggled during difficult times to stay afloat and have turned their personal, emotional, and external chaos into beautiful and moving collages that tell a story that moves beyond a single threaded narrative. Let’s explore our own scattered materials and see if we can find where the pieces fit on the page.
As always, our Saturday workshops are free and open to the public. Homemade pastries baked at a grocery store completely unaffiliated with GCC will be provided. Probably.
As you head into the weekend and begin making plans for your writing and arts endeavors, remember that February brings a wonderful series of arts events that range from Phoenix to Tucson to the US/Mexico border. View the BNAR press release and head to binationalartsresidency.com for more information about these central and southern Arizona events, and about other opportunities to participate.
Goodbyes are always hard, but never as much as when you’re stuck trying to write the perfect ending. Whether a short story, poem, news article, or essay, that satisfying ending can seem ever-elusive. You can’t always kill off your main character, right? Right? Come join us in exploring methods of closing your creative pieces with clever, captivating, and gratifying endings that do not involve character suicide and can easily be adapted to suit your unique writing style. Take home a few writing “hacks” that will help you break through the final chapter jitters and end your piece with panache.
As always, our Saturday workshops are free and open to the public. Entirely unimpressive refreshments might be provided, but you’ll need to serve yourself.
What & Who: How to Make the Fat Lady Sing: Strategies for Creative Endings, with Jayme Cook.
When: Saturday, February 10th from 9:30AM to 11:30AM
Why: Troubling times call for writers to witness, record, and bring perspective and levity.
If you are a thoughtful person (and most writers are), you might find yourself struggling with the contemporary moment we find ourselves in. As a world, we struggle with terrorism, poverty, unstable politics, and famine, just to name a few of our challenges. As a country, we also struggle with terrorism, poverty, deeply embedded racism, immigration issues, and an government which feels unstable to many. What do we do in the face of all of this? How do we face it with our pens, our keyboards, and our words?
This workshop will do the following:
Help define what witness writing is – as a subgenre.
Look at the history of Witness Writing
Help define what types of writing witness writing includes.
We will also consider these questions in the workshop:
How do writers respond to the troubling times which surround us?
What is a writer’s responsibility toward the world around him in the midst of troubling times?
How do we approach some of these gigantic and overwhelming events in the face of a media which makes them even larger?
If you find yourself trying to articulate responses to even one of these issues, or another global, national, or local issue that’s on your mind, bring that issue with you – even bring a newspaper clipping or article if you wish. Come with what’s on your mind, and we’ll think about how to approach and write about these topics together.
Interested in delving deeper? Looking ahead to Spring 2018, Kimberly Williams will be teaching an entire course on the writer as witness, using multiple genres as a way of witnessing the world around us. Get a taste of the class by attending the Saturday workshop on November 4th, and then Register for Spring:CRW202, Section 28149, Online.
What & Who: Travel Writing Workshop conducted by Renee Rivers
When: Saturday, October 14th from 9:30AM to 11:30AM
Where: GCC Main, Room LA-141
Why: I mean, read the post. This sounds amazing!
Travel Writing is an area of writing that is open to everyone. Given the upsurge in travel and online publication possibilities with multiple audiences, travel writing opportunities abound. Once the parlance of colonial adventurers and conquerors, this art form has been rightfully infiltrated by genre- and boundary-busting creatives, inter-cultural sojourners, and reflective writers to produce a flurry of stories that not only transport readers into other places and cultures, but in which any reader can find themselves whether they travel or not.
Some of today’s most sumptuous and widely read travel writing seeks to situate the individual at the center of the narrative and defines travel in wide-open ways. When travel asks us to show up and interact with new places, peoples and cultures, we are often challenged to understand our inner world in terms of the outer.
And that’s where story magic happens.
You x place x culture x your interests x your memories x some kind of new insight is where the intersection of exciting new travel narratives emerge. Consider how a story may come to life after visiting a neighborhood ethnic market triggers a childhood memory, or how a grandparent’s journal takes you on a search for cousins across the country, or how sensuous food can transport you into the realm of imaginary travel, or how your college engineering notebooks inspire a trip to university archives or another country to research the science and history of aeronautics, or even how a family vacation may have gone hilariously wrong.
These ideas represent a tiny peephole into the rich and ready domain of travel writing available to writers of all backgrounds today.
In this workshop you will participate in:
exposure to many exciting expressions of travel writing
creative ways to access authors and practitioners of this craft
travel writing exercises meant to center you, your interests, and travel or every day experiences into a trip-tick for continued writing practices
reflective writing that explores where your internal and external travels may take you
finding travel writing and travel writing markets for your writing
mapping out story ideas and how to craft them for potential markets
Renee G. Rivers’ interests can find her behind an acetylene torch, shooing urban chickens from her kitchen or traveling to remote locales.
She holds an M.A. in English from SUNY Brockport, a B.S. in Special Education, and B.A. in German via the Goethe-Institut–Muenchen.
Renee’s stories have appeared in: PBS Filmmaker Jillian Robinson’s Change Your Life Through Travel, Canyon Voices, and The Feminist Wire and have won international awards from SouthWest Writers and Tin House.
Renee currently writes about teaching in remote Alaskan villages, taking her father in a wheelchair to Mount Everest, and teaches First-Year Composition and Travel Writing at Arizona State University at the West Campus.