Lit Fest 2025

Writing can feel overwhelming, especially with challenging themes. When daunting themes leave us frozen, that's when it's time to get your game plan on. In this workshop, we'll practice exercises to help navigate obstacles in our writing, whether mountains or molehills. We'll learn techniques to tackle both big and small challenges, making difficult subjects work for us, regardless of genre or skill level. All skill levels are welcome.

In this seminar, we'll explore how writers use music to convey their characters' desires, contradictions, fears, aspirations, and aesthetic sensibilities. We’ll discuss practical tips on using music in written narratives to serve a similar function as soundtracks in film and help view and develop our characters through another medium. We’ll even touch on copyright issues and how to artfully avoid infringing on another artist’s material without compromising your own creative intentions. Please bring a list of songs that relate to your current project. All genres welcome!

The “crónica” has become the great genre of Latinx journalism. Diverse and broadly free, the crónica is an informative nonfiction piece that uses the resources and techniques of fiction. Crónica is as much about the facts as it is about the person who tells the story. Writers in this seminar can expect to learn what a crónica is, what it's not, and how to identify a good story for a crónica. We'll also write some in-class paragraphs of a short crónica, and writers will receive oral feedback from the instructor. Our references will be Rodolfo Walsh, Martín Caparrós, and Leila Guerriero.

In this class, we're going to explore how we frame the past in our poems. We’ll look at ways to leverage our present selves and perspectives in taking our readers back in time. We are adults, after all, and bring to the page the authority and irony of our distance and difference from the past. But there are also advantages to laying the past bare. We’ll also look at ways to strip away the biases and assumptions of the present and make a good faith effort to inhabit the past through the poem. This can lead to surprising emotional access and recovery.

The “inciting incident” is the narrative event that propels your whole story into forward motion. But what should the inciting incident be, and where? Does “inciting” also mean “exciting”? What makes it work, and what makes it flop? By exploring elements such as stakes and dramatic questions, we’ll look at ways to heighten that inciting incident to invite your reader into your protagonist’s lovable disaster. Open to all prose writers.

Samuel R. Delany has emphasized that science fiction gives us images not OF but FOR our futures; its power lies not in prediction but in manifestation. Extending this idea to speculative literature more broadly—and rejecting the notion that spec-lit is merely formulaic or escapist—what can we learn from its radical visions and thought experiments to help us contend with bigotry and existential threats? In this generative seminar, we'll discuss the pleasures and challenges of queer(ing) speculative writing; explore how to center historically marginalized images and imaginations; and dare to write toward a multiplicity of inclusive futures.

Sometimes what's not in a piece of writing is just as crucial to making it tick as what's explicitly spelled out. The holes in our work can serve as invitations for readers to fall more deeply into the text and start creatively connecting the dots on their own. By breathing deliberate space into the page, we can write more engagingly—and in deeper, more active collaboration with our readers. This craft seminar will offer generative opportunities to play with withdrawal, opacity, and negative space as valuable creative techniques.

What does it mean to be in conversation with our local landscapes in our writing? Part experiential learning, part creative practice, SITE//VISIT provides a space to learn about native plants and local ecology and translate embodied experience onto the page through play and improvisation. We’ll draw from the practices and work of artists and writers such as Cecilia Vicuna, CA Conrad, Jake Skeets, and others.

With jobs and family/personal responsibilities, sustaining a writing practice seems harder these days than ever before. We struggle to find the time and energy to find our way into our creative space. This course will offer prompts and habit-building techniques to help us sustain our writing practices, whether to exercise our muscles or to make it through long-term projects.

Most of us aren't able to support ourselves materially through what we would consider our “calling” (an idea that doesn’t recognize the inequities and issues of access shaped by capitalism, racism, and ableism). Lacking a single “vocation,” we may cobble together our livelihood through many sources. Beyond the fantasy of a consistent work/life balance, this lecture considers the root of vocation: both the labor of writing and the “calling out.” Through what forms and technologies are we able to be heard?

In prose writing, why is it a generally accepted rule that dialogue is so difficult to write? What unique struggles does dialogue present to a writer? How can we break down those difficulties into more manageable strategies that will then elevate our dialogue to seamless, riveting levels? In this class, we’ll discuss dialogue as an integral element of prose in an effort to demystify its elusive principles. We’ll read contemporary examples of writers who’ve cracked the dialogue code: from Joy Williams and N.K. Jemisin to Richard Price and Cormac McCarthy, among others. We’ll also practice different approaches to dialogue by modeling after others’ work and through various writing prompts. For all levels of prose writers. Come ready to talk the talk!