Master Classes and Manuscript Consultations


Have you ever written a story and people have said to you, That should be a novel?  If so, then this class is for you.

Some short stories do lend themselves to expansion into novel form—but should you and can you turn the “stakes” of a short story into the journey characteristic of the classic novel?  What are other ways to amplify or open up your short piece so that it will have the depth and intensity that people read novels for? From a writer who has recently turned a story into a a novel—making a myriad of discoveries along the way–exercises and ideas at the macro and the micro level, and words for thought.

To register for this class, please click here.


A critic once said that a certain poet was conscious where she should have been unconscious and unconscious where she should have been conscious.  This points to the question of how as poets we can make the best use of the unconscious material that rises up in dreams.

While we dream of an instant poem written in our sleep, the actual meeting of language with dream experience raises questions.  What is too personal, what is too direct, what needs to be included, or excluded?

In this class we will ask participants to share a dream and a poem, and point to how dreams and poems are similar in their topography, and where they are different. What can our poems learn from our dreams?  What can we bring into our poems from our dreams, and how can we learn the language that’s sufficient to that task?  We will also look to good models of dream poets who take a variety of approaches, including Arthur Rimbaud, Antonio Machado,  Alice Notley, Jean Valentine and David Shapiro.

To register for this class, please click here.

Figure Drawing with Lania Knight

 As writers, we don’t often get permission to stare at our subject. Yes, maybe we see our intimate partners day-to-day, our close family members, but it’s easy to lose the objectivity and distance needed to turn those examinations into character. People-watching is crucial to the writer, but it often involves hurried, furtive observations of passers-by, snippets of conversation overheard only in passing. The long gaze at the stranger’s figure, the opportunity to linger over the contrast between hair and forehead, the curve of the ear, the pinky finger that twitches just slightly—this is well-worn ground for artists, but for writers, observing the figure is something new. This class will invite writers to partake in a lengthy study of several live subjects, and will focus on elucidating sensory details.
To register for this class, please click here.

Manuscript Consultation
with Festival Authors

Manuscript consultations may be arranged with a number of our festival authors, and prices vary according to the individual.  If you are interested in a particular author or panelist, please contact us for availability.  Manuscripts must be submitted no later than December 23, 2015, and be no more than 15-20 pages in length.

To arrange a manuscript consultation please email

To register for a master class or manuscript consultation, please click here.