For this talk, we - together, you and I, audience and speaker - will explore maximalist writing as an aesthetics of excess that, according to Will Hertel, strives to "submerge readers with informational deluges, utilizing a variety of subject material and literary techniques and genres to maintain attention." However, chief among our discussion wil…

You've written and revised a novel, memoir, story, flash fiction, or poem, and now you want to submit it for publication. As she navigates the publication of her third novel, Ghost Mother (Union Square & Co., 2024), author Kelly Dwyer will take us through the process. We'll discuss where you might consider sending your shorter works and how to send…

To borrow a cliche, let's go down the rabbit hole. But on the way down, let's observe the dirt, the worms, the twists, the darkness, the sacred and the profane. For a writing project, whether a short story or a novel, trope can be an entry point. Think: a locked room mystery, dark academia, a midlife crisis. Similarly, on the sentence level, cliche…

Is peace the absence of conflict or a state that can exist within conflict? How can writing cultivate, reveal, practice, and advance personal and shared forms of peaceable assembly? What's the relationship between peace and protest, politics and private experience? This lecture will consider diverse poems that help us think about these questions, i…

Most of us who write feel the need to remember our dead in elegies, memoir, or fiction, a task that can be more difficult than we at first expect. Often our first challenge is to speak at all, to find language adequate to our grief. Then come other questions: given the injunction not to “speak ill of the dead,” and our own love for those we’ve lost…

We often think about the tool of reflection in writing as a mode of thought or tone of voice we employ when we ruminate, meditate, contemplate or explain—in short, when we provide what Phillip Gerard calls, “finished thought.” But we might also think about reflection as a turning, as a sometimes distorting, but transformational power. In this talk,…

However creative and brilliant you are, your work is evaluated (consciously or not) for its style. We write in different styles, but all writing needs correct grammar and appropriate punctuation. Good writing is characterized by the clarity and felicity of sentences. Almost everyone has "tics" that mar style, such as problems with noun/pronoun agre…

Many book editors and agents say that they read the first paragraph of a manuscript, and if they like it, they skip ahead to read some dialogue. If the dialogue is strong, they go back to page one and keep reading. If the dialogue is weak, the editor or agent sets down the manuscript, and the chances for publication (with that particular house or a…

As a painter, I am constantly recognizing ideas about composition in art that speak directly to what I do as a writer. One concept that is especially useful is Notan, a Japanese term that means "light-dark balance." We can also think of positive and negative space, or symmetry and asymmetry--all ideas about shapes and patterns that are the foundati…

The “central channel,” a somatic and energetic space well-known for centuries in contemplative disciplines, is rarely discussed in connection with writing. Understanding the central channel, and how to apply it to writing, can reveal much about us as artists, and it can open up our craft. This will be an informative, and often humorous presentation…

The memory curve, on a most basic level, means the reader’s attention is highest at the beginning, dips in the middle, and goes up again at the end. When putting pen to paper for the first time, most writers don’t think about a reader’s memory curve, nor should they. But when considering structure after the fact, during revision, it is of paramount…

"The present moment is all you have,” as author and spiritual teacher Eckhart Tolle says, and nowhere is this more the case than in writing. Successful narrative writing allows the reader to virtually experience a series of present moments through the magic of language and imagination. Mary Allen shares what’s she’s learned as a writer and a writin…

No one wants your story, essay, or poem to read like Fast and the Furious 9. But Hollywood formulae reflect a kind of science of narrative satisfaction, which can be transformative for a piece that isn't coming together in precisely the right way. We'll apply a number of hallowed screenwriting maxims to works of nonfiction and fiction, from overall…

We’re all voyeurs when it comes to the habits and practices of other writers. Do they churn out a certain number of pages each week? Do they have a day job? A cat? A room of their own? What does the desk look like? After peeking into several artists’ practices, we’ll turn to our own—not just with our writing, but our everyday lives: doing the dishe…

Poets and songwriters utilize aspects of language that are essential for prose writers to know. Take the slow, repeated vowels and consonants Joyce uses in “The Dead”: “…his soul swooned slowly as he heard the snow falling faintly through the universe…” or the hasty sibilance alive in Shakespeare’s Hamlet: “Oh wicked speed, to post with such dexter…

The most intimate, powerful, and fraught relationships in our lives are often with the limited inner circle we call family. For that reason, those relationships often feature heavily in our writing. However, to write about family relationships means putting its players on a public stage, and this can bring a whole set of unique issues, both practic…

Transforming life into writing is an individual process, as individual as the art we create. Another way to think about this is how do we understand and explain the relationship of the real or actual, what some people might call, what really happened, to the stories, poems or essays we put on the page. Much of what I have to say will be a practical…

Chiaroscuro, in art, is a technique that uses bold contrasts of light and dark in painting to create vivid scenes and evoke emotion. It renders images almost three-dimensional. In writing, the bold use of light and dark has a similar effect. The balance of the serious with the humorous allows readers the chance to enter a story more fully, to laugh…

In creative writing, truth isn’t everything, but emotional truth almost is. Whatever the genre, however familiar or strange the situation or action, readers need to believe that the emotions in a piece of writing are true. And nothing conveys emotional truth more powerfully than mixed feelings. Combining different emotions, including conflicting em…

This lecture will consider memoirs and essays written about events that are still unfolding. How can you tell a story when you don't know how it will end? How can you write about yourself when your relationship to time, memory, language, the body, and the self are changing? We'll discuss memoirs from the middle of things by authors such as Laura Hi…

Death has haunted the work of countless authors. And even if we’re not writing about death directly, it often overshadows our creations, as we deal with the loss of loved ones and the inevitability of our own mortality. These struggles can be paralyzing, or they can usher in new insights. Lori Erickson will talk about how wrestling with questions r…

Getting a story onto the page is a necessary first step. Then the heavy lifting, both outer and inner, can begin. While the facts of a real-life or fictional event may remain static from draft to draft, the author's interpretation of those events is likely to change with each iteration. That's where the real magic comes in. The workshop setting wit…

We often think about the tool of reflection in writing as a mode of thought or tone of voice we employ when we ruminate, meditate, contemplate, or explain—in short, when we provide what Phillip Gerard calls “finished thought.” But we might also think about reflection as a turning, as a sometimes distorting, but transformational power. In this talk,…

During workshops, it often becomes clear how heavily the “feminine” voice—characterized by multi-angled, expansive prose and a focus on the emotional realm—is criticized in writing, and the “masculine” voice—characterized by straightforward, sparse prose and a focus on the physical realm—is pushed. Editors and the work they publish reinforce this a…

Writers frequently confront taboos—cultural, religious, and sexual—in their work. These taboos are also reinforced by the publishing process. When is it OK to offend? When is it gratuitous? Are you being honest, or are you being a jerk? Who decides? In this Eleventh Hour presentation, Charles Holdefer will talk of recent trends and describe some of…

In this lecture, we’ll consider some recent poems in which gratitude emerges from or exists alongside difficult experiences. How do moments of acute gratitude interact with loss, grief, memory, and ongoing complexity? What are some ways in which a poem can break into thanks, however briefly? Perhaps poetry of gratitude goes beyond “finding a silver…

Giving a piece of writing a title is a proper and necessary act—otherwise we’d have, “Untitled,” by Homer, not to be confused with Leo Tolstoy’s great work, “Untitled.” Yet titling is not generally spoken of at any length or depth. Naming anything—a book, a boat, a racehorse, or a child—is at once a craft and an art. There are spectacular titles, s…

Lord Byron said, "We of the craft are all crazy." Maybe, maybe not. This talk will examine the forces that influence what we write, why we write, when we write, and where we write. Drugs, drink, depression, joy, compulsion, imagination, dreams, secrets, dollars—we'll cover the bitter and the sweet aspects of the act of creation. Caution: Gordon Men…

Beneath our writing is a deep sense of self that informs the way we organize experience and shape meaning. Autobiographical writing heightens our awareness of life's patterns and themes, concepts that in turn feed fiction, creative nonfiction, essay, and poetry. This discussion will draw on contemporary thinking in narrative psychology and narrativ…

Much of my favorite work to read and to teach can be considered “resistant narratives”—work that responds to and rewrites the narratives we have received from a culture that often wishes to reduce and limit our very souls. To become an artist is to write oneself back into being. A book can be a place where the individual remakes the world. In this …

Talent is important in creative writing, but resilience is critical. Writing is a lonely endeavor with much rejection. Even worse, our projects are often so long-term that they require the staying power of a marathon runner. So how do we develop that sort of endurance—that stubborn persistence? Tim Bascom will discuss tried-and-true habits from pra…

This lecture will consider the act of naming. How do we choose the names we give to the characters and figures in our stories and poems? How does a name give a character charge, or mark it, or erase it, or illuminate it? How can a name be used as a veil or a cape? An echo or a halo? What are the joys and pitfalls of using the names of the living an…

The best essays, according to John D’Agata, Director of the University of Iowa’s Nonfiction Writing Program, are a “mind on a page.” According to Bernard Cooper, they magnify “some small aspect of what it means to be human.” But what does this mean, exactly? It means the best essayists harness a very particular and personal truth to speak to larger…

The Writers’ Block Episode 82 David and Phineas catch up on the last month and do a deep dive into college football. Then they discuss finishing up a writing project and play a game. Finally, Phineas and David challenge each other to name their favorite Christmas movies in a new Top Five. If you disagree with David or Phineas, let us know by tweeti…

The Writers’ Block Episode 81 It’s Halloween! David and Phineas catch up on the Halloween weekend and Phineas’ party and his new mustache. Then they discuss horror storytelling and the uncanny and play a game. Finally, Phineas and David challenge each other to name his favorite vampire movies in a new Top Five. If you disagree with David, let us kn…

The Writers’ Block Episode 80 David and Phineas catch up on the week and Phineas talks about his trip to Virginia to his brother and David reflects on the losses of Auburn football and USA National Team soccer. Then they discuss revision and play a game. Finally, David challenges Phineas to name the worst superhero movie in a new Quick Take. If you…

The Writers’ Block Episode 79 David and Phineas catch up on the week and Phineas talks about his trip to Atlanta to see comedian John Mulaney perform and to encourage people to see the new Netflix show American Vandal. Then they discuss rhetorical context and how it is shaped by the cultural moment. Finally, Phineas challenges David to name his fav…

The Writers’ Block Episode 78 David and Phineas catch up on the week and reflect on the Emmy’s. Then they discuss research strategies and play a game. Finally, David challenges Phineas to name his favorite teen movies in a new Top Five. If you disagree with Phineas, let us know by tweeting us at @auburnMWC with the hashtag #MWCTop5 or e-mail us at …

The Writers’ Block Episode 77 David and Phineas catch up on the summer after an unintended break and David shares stories about his daughter and Phineas tells the story of how he proposed to his girlfriend. Then they discuss the writing process and play a game. Finally, Phineas and David answer listener questions. If you have a question for The Wri…

We often think of writing as something we’ll really get to do later, when life slows down and we have more time to devote to it. Writing retreats, those programs or places that offer endless space to write and think, couldn’t be nicer. But we don’t have to wait for an official writing retreat to make a peaceful opening for writing in our daily live…

This lecture will consider what is at the heart of critique and discuss the relationship between the workshop and places of worship, confessional boxes, crying rooms, hospitals, wombs, therapist offices, museums, and trash cans. When the writer brings her stories and poems into workshop, should she disappear? Replace her body with the page? And why…

In this Eleventh Hour, poet Michael Morse will discuss how a work of writing can inhabit its contemporary situation by addressing a distant practitioner or piece—as an inspiration, a model, or even a foil. We’ll look at and discuss some model poems and engage in an invigorating circuit of generative exercises suitable for writers of any genre.…

Readers and writers often refer to novels in a binary way. They think of them as being either commercial (popular) or literary (artful). It’s a false dichotomy that sets you up to feel defensive, no matter what you write. It fails to recognize the extreme (and exciting) diversity in contemporary writing. And it underestimates readers. Quality of wr…

How to Write the Ten-Minute Play: Kelly DwyerPar The Writing University

Where Experience Starts: The Image: Juliet PattersonPar The Writing University

Nerve: Some Kinds of Courage Necessary for Writing: Lon OttoPar The Writing University

Same Content / Different Form: Jim HeynenPar The Writing University

The Art of Play: Jeffery Renard AllenPar The Writing University

The Writers’ Block Episode 76(a): The Fate of the Furious Guardians of the Galaxy With the radio station closed, David and Phineas saw some movies and wanted to talk about them. They saw The Fate of the Furious and Guardians of the Galaxy Vol. 2. If you disagree with our assessment of the films, you can tweet to us @auburnMWC with the hashtag #AskM…

The Writers’ Block Episode 76 David and Phineas catch up on the week and discuss white supremacist Richard Spencer’s anticlimactic visit to Auburn and David tells tales from his plague-ridden family. Then they discuss how to study for and tackle exams as finals week approaches. Finally, Phineas and David answer listener questions. If you have a que…