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Shaping the Queer Voice: A Collaborative, Multi-Genre Writing Class with Ken Pienkos
$199.00
| Led By July 8 - August 5, 2019
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Where LGBTQIA (Lesbian, Gay, Bi-sexual, Trans-gender, Questioning, Intersex, Asexual) Characters Intersect, Involve & Interact with Story for All Writers.

4-Week Online Writing Class

July 8 - August 5, 2019

CLASS DESCRIPTION

How do you define Queer Voice? This course speaks to most writers from a unique and emerging perspective. John Waters was quoted in June of 2015 to say, “Gay is not enough anymore.” Let’s ask: What do Queers have in common if they no longer share oppression?

Consider Borich’s definition of the aesthetic, “by queer aesthetic I mean not just the work of queer authors but all voices and forms that are equally open to pleasure and injury, that are not afraid of the body, that are both sex-positive and self-critical, that are as interested in intersections and critique as they are in the personal politics of memory.” Barrie Jean Borich, 2012.

These four weeks will support writers through the process of individual and specific craft prompts to explore character and situation development with their voices. We encourage an open dialogue that is not prescriptive; rather it will be supportive of a wide range of style, theme, and personality among writers who embrace “otherness.”

CLASS OBJECTIVES

Craft queer narrative with inclusion and multiple dimensions.

CLASS ACTIVITIES

Consider, talk about, and compare Queer voice in historic development and trending movements.

Speak out, experiment, and integrate characters in three-dimensional stories with weekly writing prompts and peer responses.

* Listen and respond to other writers methods for character development, setting, and structure.

* Complete a full cycle of draft, collaborative critical analysis, and revision of one original work over the four weeks.


Each week there will be a lecture, a discussion forum, a writing assignment, and optional extra reading material. The instructor will give detailed feedback on the first assignment and works with the participant to revise and edit that assignment for a final draft.

ABOUT KEN PIENKOS

Ken lives in Los Angeles with his dog Scooter and his husband, James. He holds a BS and MS in Library Science from Clarion University of Pennsylvania, and is a graduate of Antioch University Los Angeles MFA in Creative Writing Program and works at Antioch University as Reference & Instruction Librarian.Recent Publications and Spoken Word Performances include: Arts & Letters Literary Magazine, Rose Red Review (pending), Queerwise: Beloved Fictions, HIV Here & Now, SoloMojo and Shades of Disclosure On Stage at Skylight Theatre.

More at Ken's web-site: 

www.kenpienkos.com

 

The World in a Flash: Flash Prose with Kate Maruyama
$199.00
July 22 - August 19, 2019
The World in a Flash: Flash Prose with Kate Maruyama
$199.00
| Led By July 22 - August 19, 2019
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Flash fiction, flash prose, sudden fiction, micro fiction. The definitions vary: “work under 1500 words” or “work under 1000 words,” and sometimes, “work under 500 words.” The good news is these small spaces can be quite dynamic and the creative possibilities within this form are endless.

Journals are looking for flash prose, and, as the pieces are so short, they can fit more in each issue, which ups your chances of publication. In this course we will do exercises which will generate your own flash prose and look at different ways in which various forms of flash prose work. We will workshop through revisions and you should come away with a few solid pieces, and, most important, the tools to keep generating flash prose that resonates.

This class is aimed around continuously generating new material over the course of the month. A writer CAN generate up to five new pieces a week, or choose to focus on a few pieces for the duration of the class.

4-Week Online Writing Class

July 22 - August 19, 2019

CLASS OBJECTIVES

• Generate new pieces of flash prose, fiction and non-fiction.

• Look at examples of flash prose that work and discuss in depth the variety of ways in which it can work.

• Workshop pieces of your flash prose with your instructor and peers.

• Rewrite your prose and prepare it to send out. Discuss marketplaces that take different kinds of flash prose and come up with a plan for submission.

WHAT THIS CLASS WILL OFFER

Week 1. Flash Prose: Inside and Out

We will look at the variety of flash prose available, discuss its flexible form and talk about the ways in which it can compress time or slow it down. Using prompts, you will generate first draft pieces of flash prose.

Week 2: Workshop!

Workshop! You will workshop a piece of flash prose you have generated and rewritten in the prior week. Your peers will respond to your work and give you suggestions and tools to use to create a new draft. During this week, using prompts, you will continue generating new flash prose.

Week 3

Workshop and generating new work continues. In this week we look at examples useful to specific pieces generated by the group.

Week 4: Submit!

We talk about appropriate places to submit your work. Prompts are available for continued generation of work and we wrap up the workshop section.

ABOUT KATE MARUYAMA

Kate Maruyama's novel HARROWGATE was published by 47North. Her short work has appeared in Arcadia, Stoneboat, Whistling Shade and on Salon, Duende, The Rumpus among other journals as well as in two anthologies: Winter Horror Days and Phantasma: Stories. She teaches in the BA and MFA programs for Antioch University Los Angeles as well as for Writing Workshops Los Angeles and the inspiration2publication program. She writes, teaches, cooks and eats in Los Angeles where she lives with her family.

TESTIMONIALS: 

"As a poet, I have always wanted to explore more deeply the difference between prose poems and flash prose. When I won the raffle for a free class with I2P, I knew Kate’s class was the one I wanted to take. Kate is a talented and smart instructor. Her knowledge and love of flash prose were evident in the variety of reading assignments and her feedback. Her ability to balance leading a class and adapting to students’ interests and schedules is exceptional. She makes teaching an online class seem effortless! I completed the class with a better understanding of flash prose, but also with several workable pieces. Above all, Kate knows writers and particularly the type of writers that would enroll in an I2P class — writers with full lives around which we are trying to find those precious moments for writing. I told her I wanted to generate new pieces in the four weeks and each week she gave us five engaging prompts each week. Moreover, Kate encouraged us to choose if we wanted to post more in the generative discussions or the workshop discussions. This is essential in working with writers because we cannot always control when and where our writing will be within a 4-week workshop. I would highly recommend this course for writers of all genres who want to dig in for some close writing and work with a seasoned writer and editor like Kate."

~Lisa Cheby

 

Let's Write a Short Story with Natalie Truhan
$199.00
September 2 - 30, 2019
Let's Write a Short Story with Natalie Truhan
$199.00
| Led By September 2 - 30, 2019
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“When seriously explored, the short story seems to me the most difficult and disciplining form of prose writing extant. Whatever control and technique I may have I owe entirely to my training in this medium.”~ Truman Capote, interview to The Paris Review.

 

4-Week Writing Class

September 2 - 30. 2019 

This course will take you from story inception to a finished draft through several stages of revision. Along the way, you will learn elements of a short story. Our goal is creating a story that, as the writer Michael Swanwick put it, “is like a knife–strongly made, well balanced, and with an absolute minimum of moving parts.”

I want you to become a radical explorer of your story and its possibilities. I will encourage you to approach your story from different angles, striving to better understand your artistic intention and ways to realize it. 

The course is designed for writers of fiction who want to explore a structured approach to developing a traditional story, as well as for writers of creative nonfiction and poetry who want to delve into writing short fiction.

LEARNING OBJECTIVES:

By the end of this course, the students will be able to:

• identify the initial idea for a short story;
• develop a short story by exploring point of view, characterization, timeline, sensory detail, imagery, and more;
• share their work in progress and provide feedback which will help their peers write the best possible story.

WHAT THIS CLASS WILL OFFER: 

In Week 1 we will learn to identify the protagonist and the story.

In Week 2 we will do what Antonya Nelson calls “putting a clock on the story”.

In Week 3 we will explore theme and imagery.

In Week 4 will do something crazy and discuss what’s next for your story.

LEARNING ACTIVITIES:

• Writing exercises: Each week students will complete writing assignments that will take their stories from the initial idea to the finished draft.

• Share work and provide feedback in discussion forums: Students will post their writing and give feedback on each other’s work.

• Assigned readings: Students will read assigned short stories and discuss them in forums to develop a better understanding of elements of short fiction.

• Progress discussions: Students will be encouraged to discuss their progress and reflect on their process.

ABOUT NATALIE TRUHAN: 

natalie-truhan

Natalie received her MFA from Antioch University Los Angeles. She is a former Translation Editor of The Lunch Ticket literary journal. She lives in Los Angeles where she writes fiction and translates poetry. Connect with Natalie on Twitter or on Instagram.    

Interested in this course? Let us know.

* indicates required
 

 

Be Heard! Recording and Uploading Your Writing with Robert Morgan Fisher
$99.00
| Led By September 9 - 23, 2019
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So you’ve been published and asked to do a promotional reading at a book store or on a radio show. Or maybe you’ve seen some of the new online publications/contests asking for “audio” and you’re asking: How can I get in on that? It’s actually a lot easier than you might think. And in today’s publishing world, it’s very important to be able to step up and read your work—either in a live public forum or online.

2-WEEK COURSE

September 9 - 23, 2019

CLASS DESCRIPTION

In this two-week intensive, we’ll look at the rapidly-expanding world of literary audio. We’ll download and listen to podcasts, find out what sort of equipment you need (don’t worry, it’s not that expensive and very low-tech) and explore submission opportunities (contests, publications, et cetera). Plus, we’ll also learn some practical tips on how to voice your writing. And if at the end of the course, you still don’t feel comfortable doing it yourself, we’ll learn about alternate methods of recording your work.

CLASS OBJECTIVES

* Study and discuss several literary audio podcasts and online audio literary journals.

* Learn how to download and use the right program and what kind of USB microphone to use.

* Learn how to convert a file to MP3.

* Learn how to create a “portable acoustically-correct studio” for less than $20.

* Demystification of the audio literary process and increased confidence in getting your own work properly recorded and out there.

WHAT THIS CLASS WILL OFFER

Over the course of two weeks, we’ll explore literary audio on the web and discuss it in detail. I’ll also direct you to resources (many of them free) that you can bookmark for when you’re ready to record your work. The syllabus provides prompts to get the discussion going—but students are encouraged to come up with their own questions and avenues of thought.

Week 1

The New Yorker Fiction Podcast, Golden Walkman Magazine and other purveyors of literary audio. (At the end of the course, students will be asked to share and discuss their favorite pieces).

* Practical list of what you’ll need to record your work and the general cost. If you feel inspired to acquire equipment, I’ll walk you through setup during week two.

Discussion: What are the advantages of voicing your own work? How do the stories affect us when read by someone other than the author?

Week 2

* The important technical sites to bookmark and programs to download.

* How to create a “portable acoustically-correct studio” for less than $20.

* How to use recording programs like Audacity; how to edit and create an MP3.

* How to troubleshoot technical problems.

* How and when to record your work at a professional studio, the advantages/disadvantages.

* How to submit to audio literary magazines/contests.

Discussion: Do you feel more confident about recording your own work? What audio pieces did you like, if any, and why? What’s your plan for jumping into the world of literary audio?

ABOUT ROBERT MORGAN FISHER

Robert Morgan Fisher recently won the 2018 Chester Himes Fiction Prize and was shortlisted for the 2019 John Steinbeck Award. His story, "Vox Rex" was Runner-up in 2015 for the coveted Miller Audio Prize in Fiction. His fiction and essays have appeared in Pleiades, Teach. Write., The Wild Word, The Arkansas Review, Red Wheelbarrow, The Missouri Review Soundbooth Podcast, Dime Show Review, 0-Dark-Thirty, The Huffington Post, Psychopomp, The Seattle Review, The Spry Literary Journal, 34th Parallel, The Journal of Microliterature, Spindrift, The Rumpus, Bluerailroad and many other publications. He has a story in the 2016 Skyhorse Books definitive anthology on speculative war fiction, Deserts of Fire and in the 2018 Winterwolf Press Howl of the Wild Anthology. He’s written for TV, radio and film. Robert holds an MFA in Creative Writing from Antioch University Los Angeles and is currently on the teaching faculty of Antioch University Santa Barbara. Since 2016, Robert has led an acclaimed twice-weekly writing workshop for veterans with PTSD in conjunction with UCLA. He often writes companion songs to his short stories. Both his music and fiction have won many awards. Robert also voices audiobooks. (www.robertmorganfisher.com)

 

 
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