The Writing Life

Writing from the Body

by John Lee

Paperback – 144 pages (December 1994)
St. Martin’s Press; ISBN: 0312115369 ;
Dimensions (in inches): 0.45 x 8.22 x 5.46

List Price: $10.95 Our Price: $9.31 You Save: $1.64 (15%)


“Let Me Ask You a Question” – The Art of the Interview

Saturday, May 2nd, 2:30-5:30 p.m.
$55 members/$65 non-members    San Francisco

Special Package Deal: Take this afternoon Interviewing workshop along with Cary’s morning “Breaking into Magazine Writing” workshop and get a discount: $95 for members, $115 for non-members.  You must be sure to select the “Breaking into Mags/Interviewing” option when you register.

“In order to write a good magazine article, you have to do good research,” says instructor Cary Pepper. “And part of doing good research is doing a good interview. In this class you’ll learn: how to get that interview…the pros and cons of interviewing in person and by phone…how to prepare so you’re at your best… techniques for getting good quotations…how to control an interview…what to do when things don’t go as planned…how to make the most of unexpected moments…and what to do if an interview begins to go bad.

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Raw Writing – A class for generating new work


This class is not being offered next session.
$95 members/$110 non-members   Berkeley

“Not long ago I was feeling distant and unconnected from my writing,” says instructor Jamey Genna, “trying too hard to create a finished product even before I had more than a rough beginning.  I was also encountering a lot of writing friends who were stalled in their work: novelists who had written the first 50 pages and then stopped themselves by doing constant revision; short story writers who had ideas for stories but no inspiring atmosphere or time to sit down and put pen to paper.  I decided it might be time for me to: 1) put a hold on studying craft, 2) stop revising so much, and 3) get back to generating more new material.

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Kathleen McClung: Memoir Writing – Mine & Refine Your Memories

mcclungnew25 Saturdays, November 5 – December 10, 2-4:30pm 
Skip November 26
$275 members/$295 others  
Testimonials for Kathleen

*Class is sold out. If you’d like to be placed on the waiting list, send an email to

Memoir is not reserved only for the rich and famous. Beautiful and haunting memoirs—books and essays—can grow out of our ordinary lives, carefully observed. Both the distant past and the not-so-long ago can be mined, remembered and re-created in writing. This class is a guide to the mining and refining process.

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Kathy Garlick: Reading for Writers – Improving Craft through Close Reading

5 Sundays, January 22 – February 19, 7-9:30pm
$275 members/$295 non-members

“Reading the works we love, we’ve all had the experience of picking up the writer’s voice in our heads—its cadences and rhythms, its diction and texture,” instructor Kathy Garlick says. “We walk around in the world with this reverberant ‘other voice’ filling our minds. You may wonder, as I do, how is that possible? How have I become almost ventriloquized by that? I think it’s because of our deep sensitivity to language and its living, breathing, meaning-making power.”

In this class, we’ll read the work of prose writers and poets, deriving joy from the reading experience while also learning, in our study of craft, how the writers plant sensations in us, how they are able to move us. During class and in short reading assignments for homework, we’ll explore the lyrical prose of Michael Ondaatje, the narrative poetry of Philip Levine, glorious setting in the work of James Wright, character development in Alice Munro’s stories, and genre-blending in Claudia Rankine’s work. Among others!

In response to the readings, we’ll experiment with what we’re learning by way of in-class writing exercises and in working on our own writing projects. Kathy says, “At the end of the five weeks, you will walk away with brand-new tools and strategies as a reader and writer, and you will have established a powerful voice in your own writing—a voice which transmits itself to and transforms other readers.”

Kathy Garlick’s poetry and prose have appeared in Art and Ideas, Fourteen Hills, Field, and other publications. Her chapbook of poems, The Listening World, was published by Momotombo Press at St. Mary’s College. Kathy currently teaches creative writing and academic writing at University of San Francisco and creative writing and literature in the English Master’s program at Holy Names University.

Creating Fiction: Instructions and Insights from Teachers of our Associated Writing Programs

edited by Julie Checkoway

– 304 pages (April 1999)
Story Pr; ISBN: 1884910408 ;
Dimensions (in inches): 1.19 x 9.37 x 6.45

List Price: $18.99 Our Price: $13.29 You Save: $5.70 (30%)


The Elements of Style

by William Strunk and E.B. White

(August 1999)
Anchor; ISBN: 020530902X;
Dimensions (in inches): 0.61 x 7.97 x 5.20

List Price: $6.95, Our Price: $5.56, You Save: $1.39 (20%)

Hardcover – 239 pages (September 1994)
Pantheon Books; ISBN: 0679435204;
Dimensions (in inches): 1.05 x 8.32 x 5.27

List Price: $14.95, Our Price: $10.47, You Save: $4.48 (30%)


Beginnings & Endings for Poets-Delight and Wisdom!

elizabeth-perry-2Sunday, April 19th, 10 a.m.-1 p.m.  San Francisco
$55 members/$65 non-members

This mini-workshop may well whet your appetite for more, in which case you may want to consider Julie Bruck’s 9-week “Fearless Poetry Workshop” on Thursday evenings in SF, or Alison Luterman’s “Magpie Poetry Workshop,” also on Thursday evenings, but in Berkeley.

Robert Frost famously wrote “a poem begins in delight and ends in wisdom.”  After you’ve drafted a poem, how do you find the true beginning–the place where the delight begins?  And how do you know when you’ve followed the poem to a wise ending?  In this workshop, we’ll examine a generous mix of how other poets have chosen beginnings and endings for their poems.  Then we’ll look at (and listen to) our own drafts, focusing on identifying the emotional starting point for the poem and how to craft an ending that enlarges the poem’s intention without sacrificing authenticity.  You’ll need a draft of a poem that you’ve been working on and a willingness to listen to your work and the work of others with an open mind. Read the rest of this entry »

Get Your Book Published: The Ins, Outs, Ups and Downs

dianne-jacobheadshot2008Saturday, July 11th, 10 a.m. to 1 p.m.    San Francisco
$55 members/ $65 non-members           REGISTER

If you’re writing a book and hope to have it published, you’ll be that much more successful if you understand how the publishing industry works and what editors and agents want. Join instructor Dianne Jacob at this primer that looks at how to get happily published. In today’s rapidly changing world, what exactly does the book industry want?

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Raw Writing – A class for generating new material

gennajamey2.jpg5 Weeks, 7-9:30 p.m.
$185 members/$215 non-members     Berkeley

Special Package Deal: Take this class together with the “Intro to Creative Writing” class, and receive both classes (5 weeks plus 5 weeks, back to back) for the price of one 9-week class. This discount applies only if you choose the “Intro to Creative Writing/Raw Writing ‘Combo’ option” when you register. If you register for Intro to Creative Writing separately and then decide to take Raw Writing, the discount doesn’t apply.


“Not long ago I was feeling distant and unconnected from my writing,” says instructor Jamey Genna, “trying too hard to create a finished product even before I had more than a rough beginning.  I was also encountering a lot of writing friends who were stalled in their work: novelists who had written the first 50 pages and then stopped themselves by doing constant revision; short story writers who had ideas for stories but no inspiring atmosphere or time to sit down and put pen to paper.  I decided it might be time for me to: 1) put a hold on studying craft, 2) stop revising so much, and 3) get back to generating more new material.

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Memoir Writers Roundtable – Suggestions, support, solidarity

mcclungnew21Friday, March 12th, 7-10 p.m. San Francisco register_off-70x18
$35 members/$45 others

You’re embarked on writing a book-length memoir. You’re acquainted with the fundamentals of memoir, but perhaps you’re finding some doubts creeping in as you work on your book:  Is my story really that compelling? How do I clear away the clutter and get to the heart of my story? And how exactly am I going to end the book?

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Jenny Pritchett: Personal Essays – Tell Your Real-Life Stories

5 Saturdays, May 13 – June 17 (skip May 27), 10:30am-1pm  Berkeley  
$275 members/$295 non-members 

Testimonials for Jenny

Have you always wanted to write about your crazy family? What about an accident that changed the course of your life? A discovery that changed your perception of the past? A mysterious neighbor whose comings and goings excite your imagination? If you know you want to, but you don’t know where to start, this is your class. “By the end,” says Jenny, “you’ll walk away with a rough draft of a personal essay.

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Jenny Pritchett: Ready, Set, Blog!

5 Saturdays, February 25 – March 25, 10:30am-1pm
$275 members/$295 non-members
Testimonials for Jenny

Anyone, anywhere can publish a blog—and that means you. “All you need is an idea and an internet connection,” says instructor Jenny Pritchett. “And I can help you with the idea.”

Whether you want to write about a lifelong passion (for cooking, traveling, reading), riff on a fresh idea (about politics, parenting, design), offer a unique perspective (on teaching, fashion, gardening), or chronicle a major life event or transition, this five-week class will help you zone in on a premise and think about the important stuff: How do I get started, and how do I keep this up?

We’ll practice the skills most needed for a successful blog: writing well, and committing to a regular writing practice. We’ll ask ourselves the hard questions: What topic interests me enough that I could sustain a regular blog? How will the format of a blog help me tell my story? What are the typical roadblocks two or three months down the road? How am I going to make time for my writing?

We’ll start with in-class writing exercises and brainstorming sessions to get our ideas on paper. After that, we’ll do a weekly check-in about our progress and—choosing one idea or experimenting with many—write real blog posts and workshop them for feedback and ideas.

Throughout the class, we’ll touch on writing for an internet audience (length of posts, basic HTML, and how to use links, images, and video), blog communities (who else is doing what I’m doing?), platforms (WordPress or Blogger? Medium or Tumblr?), copyright (if I use a free service, do I own what I write?), and promotion (how do I get people to read my blog?). Finally, we’ll look at examples of live blogs for what makes them work (and how we think they could be better) and by the end—gasp—we’ll have a pathway to launch.

Jenny Pritchett has taught creative writing classes since 2006 and writes the popular blog Jenny True: An Excruciatingly Personal Food Blog. Her debut story collection, At or Near the Surface (Fourteen Hills Press), won the 2008 Michael Rubin Book Award, and she has been nominated for a Pushcart Prize and published in Guernica, Salon, Southwest Review, Northwest Review, Boulevard, Best of the Web 2008 (Dzanc Books), and elsewhere. She holds a degree in magazine journalism from Northwestern University and an MFA in creative writing from San Francisco State University. The former managing editor of Fourteen Hills, she has taught or lectured at SFSU, California College of the Arts, Ex’pression College for Digital Arts, and the Institute of American Indian Arts in Santa Fe, New Mexico.

Writing Fiction: A Guide to Narrative Craft

by Janet Burroway

Paperback – 480 pages 5th edition (July 1999)
Addison-Wesley Pub Co; ISBN: 0321026896 ;
Dimensions (in inches): 0.76 x 9.26 x 6.40

List Price: $38.00 Our Price: $30.40 You Save: $7.60 (20%)


Sin and Syntax : How to Craft Wickedly Effective Prose

by Constance Hale

Hardcover – 224 pages 1 Ed edition (June 1, 1999)
Broadway Books; ISBN: 0767903080
Dimensions (in inches): 1.14 x 8.56 x 5.32

List Price: $20.00, Our Price: $14.00, You Save: $6.00 (30%)


Creative Writing Smorgasbord! – An introductory class


Five Tuesdays, April 14-May 12, 7-9:30 p.m.
$185 members/$215 non-members

Note: This class, as well as the “Exploring Creative Nonfiction” class, are both good general “exploration” classes. Neither  focuses on just one genre; instead, they introduce you to a sampling of different genres and/or sub-genres.

Chekhov said that writing should “hit the reader on the snout.” A metaphor, sure, but fantastic advice for apprentice writers: a reminder that art needs a unique, compelling personality. In this class, students will nibble on appetizers from all the major genres—fiction, creative nonfiction, memoir, poetry, and others.

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Word Painting (Show Don’t Tell) with Jane Underwood

“This workshop met my expectations 100%. My two favorite exercises really showed me that being more descriptive doesn’t have to be difficult, it can be fun. I really enjoyed Jane’s teaching style: relaxed, supportive, friendly. She created a safe space for everyone and their writing; the class flowed. I was feeling blocked for quite sometime, and these exercises  helped me feel creative again. Overall, I got a good kick in the pants to get writing again.” — Kim Scherer

“The exercises and your comments were extremely useful. I am back at my writing table and I still visualize and hear Miss Dennis. 1000 thanks for this wonderful day and also for the 37 Fun Exercises. I certainly intend to use them all! — Jocelyne Guilbault

Summer Classes Listed by Day of the Week (San Francisco & Berkeley)



NOTE: The list below is currently being updated to show all summer classes.

The update will be done by June 1st.


San Francisco:

I Want to Write BUT: A Kick in the “But” Class…for YOU?  – Jane Underwood
July 13: 10 am to 4 pm ($95 members/$110 others)

Intro to Poetry: Finding Your Comfort Ground – Ben Jackson
July 20: 10 am to 4 pm ($95 members/$110 others)

Lurking in the Shadows: Dangerous Women, Bad Boys, & Twisted Sisters – Katia Noyes
July 27: 10 am to 4 pm ($95 members/$110 others)

Tiny Kingdoms: Writing and Publishing the VERY Short Story – Andy Touhy
Aug. 3: 10 am to 4 pm ($95 members/$110 others)

Historical Fiction: Facts & Fibs Combined–What Fun! – Jess Wells
Aug. 10: 10 am to 4 pm ($95 members/$110 others)

Full-Tilt Prose: Let Your Sentences Soar!Katia Noyes
Aug. 17-Sept. 21 (5 weeks, skip Aug. 31): 2-4:30 pm  $215 members/$245 others

Memoir Writing: Mine and Refine Your Memories – Kathleen McClung
Aug. 24-Sept. 28 (5 weeks, skip Aug. 31st ) 10:30 am-1 pm  $215 members/$245 others


Creative Writing: Delving Deeper – Elaine Beale
June 1-29 (5 weeks): 10:30 am-1 pm  $215 members/$245 others

Writing Funny For Blogs, YouTube or…What’s That Other Thing? – PRINT! (And Getting Paid For It, Too!)– Stan Sinberg
June 1-29 (5 weeks): 2-4:30 pm  $215 members/$245 others

Inspiring the Muse: A Day to Jumpstart Your Writing – Elaine Beale
July 13: 10 am to 4 pm ($95 members/$110 others)

Turn Your Hard-Won Wisdom into a Self-Help or Personal Growth Book – Ruth Schwartz
July 20: 10 am to 4 pm ($95 members/$110 others)

July 27: 10 am to 4 pm ($95 members/$110 others)

Aug. 3: 10 am to 4 pm ($95 members/$110 others)

Aug. 10: 10 am to 4 pm ($95 members/$110 others)

Aug. 17-Sept. 21 (5 weeks, skip Aug. 31): 10:30 am-1 pm  $215 members/$245 others

Fabulous Fiction: Mysteries, Thrillers, Romance, Sci Fi, Fantasy & More – Nick Mamatas
Aug. 17-Sept. 21 (5 weeks, skip Aug. 31) 2-4:30 pm $215 members/$245 others



San Francisco:

Writing Children’s Picture Books: More than Just Child’s Play – Shirin Bridges
July 14-Aug. 11 (5 weeks) 7-9:30 pm  $215 members/$245 others

Daily Write Round Robin: Community, Creativity, Commitment – Jane Underwood
July 21 (mandatory attendance) and Sept. 22 10:30 am-1 pm (plus every day online between meetings) $195 members/$225 others

Journaling: Turn Your Life into Art – Ben Jackson
Aug. 18-Sept. 22 (5 weeks, skip Sept. 1st) 7-9:30 pm  $215 members/$245 others

Persistent Poets: Fearless Poets Continuation Class – Julie Bruck
Aug. 18-Jan. 5 (6 meetings: Aug. 18, Sept. 15, Oct. 13, Nov. 10, Dec. 8, Jan. 5) 2:30-5 pm  $365 members/$395 others


Starting Your Novel: Begin at the Beginning – Samuel Sattin
June 2-30 (5 weeks) 2-4:30 pm   $215 members/$245 others

Intro to Fiction: You Can’t Build a House without a Foundation – Junse Kim
July 14-Aug. 11 (5 weeks) 2-4:30 pm    $215 members/$245 others

July 14-Sept. 15 (9 weeks, skip Sept. 1st) 7-9:30 pm   $365 members/$395 others

Aug. 18-Sept. 22 (5 weeks, skip Sept. 1st) 2-4:30 pm   $215 members/$245 others



San Francisco:

Starting Your Novel: Get a Foothold on Your Project – Karen Bjorneby
June 3-July 1 (5 weeks) 7-9:30 pm  $215 members/$245 others

“Combo” Class: Intro to Fiction with Junse Kim, followed by Starting Your Novel with Karen Bjorneby)
July 15-Sept. 23 (skip Sept. 2; 10 weeks for same price as a 9-week class) 7-9:30 pm   $365 members/$395 others

Intro to Fiction: You Can’t Build a House without a Foundation – Junse Kim
July 15-Aug. 12 (5 weeks) 7-9:30 pm  $215 members/$245 others

Starting Your Novel: Get a Foothold on Your Project – Karen Bjorneby
Aug. 19-Sept. 23 (5 weeks, skip Sept. 2) 7-9:30 pm  $215 members/$245 others


Discovering Your Poetry: Uncover the Gems Alison Luterman
 July 15-Aug. 12 (5 weeks) 7-9:30 pm  $215 members/$245 others 

Aug. 19-Sept. 23 (5 weeks, skip Sept. 2) 7-9:30 pm  $215 members/$245 others 



San Francisco:

Intro to Creative Writing: Having Fun with the Fundamentals – Jenny Pritchett
July 16-Sept. 10 (9 weeks) 7-9:30 pm  $365 members/$395 others


Write from Real Life: Personal Essays & Memoirs – Alison Luterman
July 16-Sept. 10 (9 weeks) 7-9:30 pm $365 members/$395 others



San Francisco:

Playwriting 101: A Crash Course in Writing for the Theater & Beyond – Patricia Cotter
May 29-June 26 (5 weeks) 7-9:30 pm $215 members/$245 others

Intro to Personal Essays: Telling Your Real Life Stories – Jenny Pritchett
July 17-Sept. 11 (9 weeks) 7-9:30 pm  $365 members/$395 others


“Combo” Special: Raw Writing & Intro to Creative Writing – Andy Touhy and Elaine Beale
July 24-Sept. 25 (10 weeks, same price as a 9-week class) 7-9:30 pm  $365 members/$395 others

Raw Writing: Generating New Material  – Andy Touhy
July 24-Aug. 21  (5 weeks) 7-9:30 pm $215 members/$245 others

Intro to Creative Writing: Having Fun with the Fundamentals  – Elaine Beale
Aug. 28-Sept. 25  (5 weeks) 7-9:30 pm $215 members/$245 others



San Francisco:

Honing the Art of Storytelling: Fiction Workshop – Andy Touhy
July 18-Aug. 15 (5 weeks) 7-9:30 pm    $215 members/$245 others

Fearless Poetry Workshop – Julie Bruck
Aug. 22-Sept. 19 (5 weeks) 7-9:30 pm  $215 members/$245 others


Intro to Creative Writing: Having Fun with the Fundamentals – Elaine Beale
May 30-June 27 (5 weeks) 7-9:30 pm $215 members/$245 others

The Fiction Gym: Strengthening Your Writing in a Workshop Setting – Cary Groner
July 18-Sept. 12  (9 weeks) 7-9:30 pm   $365 members/$395 others



San Francisco:

Honing the Art of Storytelling: Fiction Workshop Continuation – Andy Touhy
Aug. 16-Jan. 10 (Six months: Aug. 16, Sept. 13, Oct. 11, Nov. 8, Dec. 6, Jan. 10) 7-9:30 pm  $365 members/$395 others

Novel Writing Continuation Workshop: Don’t Stop Now! – Karen Bjorneby
Aug. 23-Jan. 17 (Six months: Aug. 23, Sept. 20, Oct. 18, Nov. 15, Dec. 13, Jan. 17) 7-9:30 pm  $365 members/$395 others


Beyond the First Draft: Works-in-Progress – Jess Wells
July 19-Dec. 6 (Six months: July 19, Aug. 16, Sept. 13, Oct. 11, Nov. 8, Dec. 6) 7-9:30 pm  $365 members/$395 others



Kathy Garlick: Tweaked Daily Write “Round Robin” – Creativity, Community, Commitment


July 10 – September 4
8 weeks of daily online activity (facilitated by Kathy)
Plus in-person final meeting
Sunday, September 4, 10:30am – 1pm (optional)
$195 members/$225 others


The imagination is like a muscle: The more you use it, the better it performs and the quicker you get ideas of higher caliber.—Dean Koontz

“The more you use your writing muscles,” said Jane Underwood, founder of the Writing Salons, and creator of Round Robin, “the more you tone and strengthen them. In the Round Robin, you practice writing every day, just as piano students practice scales and swimmers do laps. The only difference is that the Round Robin is more fun.”

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Kate Montgomery: Screenwriting – The Rewrite & Polish

Katie Montgomery Screenwriting5 Tuesdays, January 17 – February 14, 7-9:30pm
$275 members/$295 non-members   
Testimonials for Kate

So, you’ve finished the first draft of your screenplay? Congratulations! This is no small feat. Celebrate. Brag a little. And take a break—you’ve earned it!

But now get ready to sit back down and start working on that rewrite.

“I’ve never heard of a first draft that was camera-ready,” says instructor Kate Montgomery, “so the key at this stage is to identify what works and what is not quite there yet. Many imperfections will be instantly obvious as you return to your script after a short break. But others will ‘hide in plain sight’. This is why it’s so helpful to have the support and feedback of fellow screenwriters who can help you spot any weaknesses or missed opportunities—and who will thank you for helping them to do the same.”

In this course, we’ll all put our first drafts through a series of “passes” to check and double-check the plotting, character development, dialogue, and pacing. Each screenwriter will learn the Hollywood process of script analysis known as “coverage”. At the very least, your screenplay should be a polished and professional writing sample that opens doors with agents and producers.

“Writing is re-writing,” says Kate. “But this doesn’t have to be a tedious chore. Through reader feedback, scene readings, and fun brainstorming and improv sessions, you will have the opportunity to see your script though fresh eyes and explore alternatives to what is currently on the page.”

Kate Montgomery wrote, directed and produced the Sundance indie feature Christmas in the Clouds, which won top honors at festivals in Austin, Santa Fe, Vancouver, Philadelphia and Ft. Lauderdale, and endorsements from Oprah Winfrey & Roger Ebert. She executive produced the micro-indie, Ever Since the World Ended, which won at the SF Indie Fest and the London Sci-Fi Film Festival. She has optioned & sold screenplays to producers and studios in the US, Canada and UK, and works for hire as a script editor and production consultant. Her current feature projects include the Italian romantic comedy Pane Vine, and the western Stealing Lily, for which she also wrote the adaptation.

Finding Your Writer’s Voice

by Thaisa Frank and Dorothy Wall

Paperback – 256 pages (January 1997)
St. Martin’s Press; ISBN: 0312151284 ;
Dimensions (in inches): 0.70 x 8.27 x 5.51

List Price: $13.95 Our Price: $11.86 You Save: $2.09 (15%)


Woe is I: The Grammarphobe’s Guide to Better English in Plain English

by Patricia T. O’Connor

Paperback – 227 pages (August 1998)
Riverhead Books; ISBN: 1573226254 ;
Dimensions (in inches): 0.67 x 8.06 x 5.20

List Price: $11.00 Our Price: $8.80 You Save: $2.20 (20%)

Hardcover – 227 pages (September 1996)
Putnam Pub Group (T); ISBN: 0399141960 ;
Dimensions (in inches): 0.97 x 8.38 x 5.44

List Price: $16.95 Our Price: $11.87 You Save: $5.08 (30%)


Tune In to Your Inner Editor – For writers in ALL genres!

Cheryl Ossola Sunday, April 5th, 10 am to 4 pm; San Francisco
$95 members/$110 non-members

Would you like to learn how to recognize the deadwood in your copy? Do you want to write punchier sentences, free of redundancies and clunky phrasing? Does an assigned word count fill you with fear?

If you’re like most writers, you probably have trouble editing your own work. Sure, it would be nice to hire an editor every time you needed one, “but let’s face it,” says instructor Cheryl Ossola, “most of us are on our own.” So why not tune in to your inner editor? Come spend a day learning how to prune text without sacrificing content, thus making more room for all the facts and insights that give your writing power.

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Breaking into Magazine Writing

pepperforwebsite15 Tuesdays, 7/14-8/18 (skip 7/21), 7-9:30 p.m. REGISTER
$185 members/$215 non-members San Francisco

ATTENTION: CLASS CANCELLED. We might be able to reschedule it later in the session. If you are interested, please send an email to, letting her know this.

“I’ve done stories on everything from home computers — back when only three companies were making them — to a portrait of the Sherman House (a landmark hotel that survived the 1906 earthquake) to a profile of the Emmy Award-winning sound engineer who worked on Basic Instinct,” says Cary Pepper. “But my favorite piece is probably the one I did about a new reading program for kindergartners; the kids pulled me right into the class and I learned more that one day than I ever learned in kindergarten. That’s one of the things I love most about magazine writing — it’s a constant learning process. It gives you a license to probe into how the world — and the people in it — work. It’s also the most accessible way to break into professional writing. Even when you have no publishing credits, if you come up with the right idea, and pitch it to the right editor at the right time, you can get the assignment.”

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Lies, Lies, Lies! Help Your Characters Engage in Deceit

One Saturday, 10 a.m. to 4 p.m.  Berkeley and SF
$95 members/$110 others

Characters use all sorts of tactics to get what they want: seduction, insult, flattery, cleverness and more. But the tactic that takes the cake is deception. Sometimes they fool lovers, sometimes friends. More often than not, they also fool themselves. In this class, you’ll explore the ways characters lie and deceive.

“When people lie,” says instructor Aaron Henne,”we get a profound glimpse into who they really are. Their fears, concerns and, most of all, their desires are revealed by what they choose to obscure. By excavating their descents into treachery and fraud, we get closer to their truths. By revealing their foibles, we also reveal their needs.”

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David Hill: Intro to Fiction – Discover the Writer Within

David Hill copy5 Mondays, July 11 – Aug 8, 7-9:30pm  Berkeley
$215 members/$245 others     
Student Testimonials

“The only way, I think, to learn to write short stories is to write them, and then to try to discover what you have done.”
–Flannery O’Connor, “Writing Short Stories”

“Whether we know it or not, most of us have a well-developed, intuitive sense of how to tell a story,” says instructor David Hill. “Whenever we begin a conversation with, ‘You won’t believe what happened today,’ or, ‘Promise you won’t tell anyone this,’ what follows is most likely a story, and often a pretty good one. But when we sit down to write, we don’t know where to begin. Our knowledge of how to tell a story floats right out of our heads.”

In this workshop students will discover the writer within themselves, developing their understanding of the craft through the practice of writing. We will focus on the fundamentals of fiction: plot, setting, and character development. In addition to reading and lively discussion of brief essays on craft and exemplary works of fiction, students will engage in a variety of writing exercises designed to deepen their understanding of how fiction works.

Writers of all levels are welcome, both beginners and those who want to brush up on the fundamentals.

David William Hill served as assistant editor for two oral history books: Underground America: Narratives of Undocumented Lives (McSweeney’s, 2008) and Invisible Hands: Voices from the Global Economy (McSweeney’s, 2014). He currently serves on the editorial staff of Chicago Quarterly Review. His fiction has appeared in [PANK], Chicago Quarterly Review, Hobart, J Journal: New Writing on Justice, Cha: An Asian Literary Journal, and Cimarron Review, among others, and he was a finalist for both a Glimmer Train prize and the Montana Prize in Fiction. He holds an MFA from San Francisco State University and has taught creative writing at San Francisco State, Academy of Art University, and City University of Hong Kong.

The Salon Reading Series with Alice Templeton & Nate Klug

Saturday, March 18, 7-9pm  Berkeley

The Salon Reading Series features readings with our esteemed teachers and some of our most promising and dedicated students. The events are free to the public. Snacks and beverages are provided.

Alice Templeton’s poetry is frequently rooted in her native Tennessee, and while reflecting on that region, Alice artfully mingles memory and the imagination. About her life growing up on a farm, Alice says, “those cycles of labor that we went through on the farm . . . were formative in my sense of who I am and what language is.” Nate Klug is both a poet and minister, his questions about faith and spirituality at the heart of his tight lyric poems. Christian Wiman, former editor of Poetry, has this to say about Anyone, Nate’s first collection of poems: “I would say that he is at the beginning of a great career, but that sells this book short, which seems to me to already have elements of greatness. Anyone interested in poetry . . . is going to want to own this book.” For this second event in the 2017 Salon Reading Series, Alice and Nate will be reading with their two students, June Jackson and Teresa Poore.

Alice Templeton’s poems have appeared in Poetry, Calyx, Asheville Poetry Review, and elsewhere, and her chapbook Archaeology won the 2008 New Women’s Voices Prize in Poetry from Finishing Line Press. Alice has been a resident at the Virginia Center for the Creative Arts, le Moulin á Nef (France), Blue Mountain Center, Vermont Studio Center, and the Millay Colony. She teaches creative writing and humanities at the Art Institute of California-San Francisco.



Nate Klug earned a BA in English at the University of Chicago and a Masters from Yale Divinity School. He is the author of Rude Woods, a modern translation of Virgil’s Eclogues (The Song Cave, 2013), and Anyone, a book of poems (The University of Chicago Press, 2015). His writing has been supported by the Poetry Foundation, the MacDowell Colony, and the James Merrill House. His poems, translations, and essays can be found in Poetry, Threepenny Review, Kenyon Review, and elsewhere.



June Jackson has kept a journal since she was about 10 years old. At Trumbull High School she started the school’s first literary magazine and named it Broken Shells. After writing poetry early in life, she now works on personal essays. She has taken numerous workshops and classes in writing with Cheryl Strayed, Anne Lamott, Nancy Aronie and teachers at the Writing Salon. She did hospice work on and off for 35 years, and she currently has a private practice doing grief counseling and reiki.

Teresa Poore’s poetry has appeared in Old Red Kimono, Red Rock Review and elsewhere. Her work is forthcoming in Grayson Books anthology, Forgotten Women. She was awarded first prize in poetry in the 2015 Soul-Making Keats Literary Competition, and is a finalist for the 2016 Crosswinds Journal Poetry Contest. Teresa is also a practicing psychotherapist.

In the Palm of Your Hand: The Poet’s Portable Workshop

by Steve Kowit

Paperback – 288 pages (June 1995)
Tilbury House Publishers; ISBN: 0884481492 ;
Dimensions (in inches): 0.76 x 8.94 x 5.96

List Price: $14.95 Our Price: $11.96 You Save: $2.99 (20%)


Get Published: 100 Top Magazine EditorsTell You How

by Diana Gage and Marcia Coppess

Paperback – 590 pages Rev&Updtd edition (March 1994)
Henry Holt (Paper); ISBN: 0805026894 ;
Dimensions (in inches): 1.68 x 8.94 x 5.98

List Price: $17.95 Our Price: $15.26 You Save: $2.69 (15%)


Flash Fiction – Yes, less can be more!

BoothDavidNew.jpgSaturday, May 19th, 10 a.m. to 4 p.m. San Francisco
$85 members/$95 non-members

register_off-70x18.gifAsked why she wrote flash fiction, writer Diane Williams said, "I need thrills…quick thrills, …[I need to] get answers fast and get relief."  The hallmarks of flash fiction are brevity, conciseness, suggestion, and surprise. Coming in at under 1500 words, and sometimes as short as a few pithy sentences, it not only gives us quick thrills but also sudden, often profound insights into the human drama. "In this class we’ll read some of the very best flash fiction written in the past 20 years," says instructor David Booth. "We’ll ask many questions about the form: what about this story makes the hair on the back of my neck stand up? How can I create moments of surprise and sudden shifts in the reader’s perception? How do plot, character, setting, and dialogue work in a story that fits on a postcard? We’ll develop our own recipes for flash fiction—our own original concoctions.  Come to the Writing Salon with your sleeves rolled up: we’ll read some wonderful stories and write a few of our own!"

David Booth has led many fiction workshops at the Writing Salon and San Francisco State University.  He currently teaches fiction in the MFA writing program at the University of San Francisco.  His flash fiction has appeared in a dozen journals, including Switchback, Absomoly, Quick Fiction, The Carriage House Review, and Sudden Stories: A Mammoth Anthology of Miniscule Fiction.

Magazine Writers Roundtable


Friday, Nov. 20th, 7-10 p.m.  San Franciscoregister_off-70x18
$35 members/$45 non-members

You’ve taken the magazine writing class (or maybe you haven’t), and you’re out there, trying to make it all work: seeking ideas for articles, finding markets for your pitches, putting together query letters, and dealing with editors — before, during and after assignments. Have questions? Want a little advice? Curious about how other people are doing it? Feel like exchanging ideas about what’s working and what’s not? Read the rest of this entry »

Fearless Poetry – Bootcamp for a day

BruckCroppedSaturday, April 24th, 10 a.m. to 4 p.m.  San Francisco
$95 members/$110 non-members


Waiting to be struck by an inspirational bolt of lightning can be seductive, but it gets lonely out there under the tree. “Too much waiting can dampen the spirit,” says instructor Julie Bruck. “There are other ways to get in touch with your creative muse, ways that we’ll explore in today’s workshop.” Read the rest of this entry »

Every Word Matters: Making Sentences That Scream

One Saturday, 10 a.m. to 4 p.m. (this class is not currently scheduled)
$95 members/$110 others San Francisco

Avoiding boring writing isn’t enough. “My sentences almost always come out perfectly adequate,” Matt Stewart admits, “but that’s not enough to stand out from the flood of middling writing out there. Also, I don’t know about you, but I didn’t get into writing to write ‘okay’ sentences. Life is too short to write—or read—average work.”

Matt’s workshop will give you a jolt of language-centric adrenaline to help you craft electrifying prose and cut below-par copy, while avoiding the perils of overwriting. You’ll deconstruct work from prose masters and identify literary wordplay techniques to capture reader attention, all in service of driving your story and character development.

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Alison Luterman: Celebrating Your Voice

Alison_Banner1 Saturday, July 9, 10am-4pm  Berkeley
$95 members/$110 others  
Testimonials for Alison   

“What is that elusive thing called ‘voice’?” asks instructor Alison Luterman. “How do we find and cultivate our own unique voice, and how do we learn to love and work with what we’ve got?”

“We all know the experience of reading a few lines of poetry or prose and being able to identify the author even without looking. That’s a voice. A page of Toni Morrison does not sound or feel like a page of David Sedaris. And a page of whatever you write should not look or feel like that of the person sitting next to you around the table, even if you desperately admire his or her writing.”

This workshop will start with our relationship to our own physical voices, the ones that growl and squeak and betray our emotions, the voices that whisper and shout inside of us. We’ll remember the songs and sounds of our youth, that primal soundtrack that formed us. “There’s an incredible richness of memory and association available to us through that early music,” says Alison. “Like Proust’s madeleine, it can be a memory trigger for the hundreds of stories and poems that are lying await inside of us.”

In this workshop we will read, write, share, and repeat. There also may be some singing but participation is completely voluntary. No one will be put on the spot.

Alison Luterman has published essays in The Sun, Modern Love, L.A. Review, Radiance, Response, The East Bay Express, The Boston Phoenix, and Salon. She has also written an e-book of essays entitled Feral City, about midlife domestication, remarriage, and second chances (available from SheBooks). Alison is also the author of three books of poetry: The Largest Possible LifeSee How We Almost Fly, and Desire Zoo. Last but not least, she writes plays, including Saying Kaddish With My Sister, Glitter and Spew, and a musical, The Chain. Visit her website for more details.

Lori Ostlund: Setting and Backstory – Two Underutilized Tools for Thinking about Character and Conflict

5 Sundays, April 9 – May 7, 10:30am-1pm  Berkeley
$275 members/$295 non-members   

In this class we will address setting and backstory, two tools of fiction writing that are rich in potential but are underutilized. Writers often think of setting as simply the place and time in which events occur, but in this class we will first focus on setting as a way to shape and reveal a character, and we will then discuss the ways that setting can be used to isolate or challenge a character, leading to conflict.

“Over the years, numerous students have told me that they don’t feel comfortable writing backstory or have been told to avoid backstory,” says instructor Lori Ostlund. “My general philosophy is to utilize all tools, and backstory is one more tool to help writers make sense of their characters and give meaning to the plot. In this class we will look at ways to incorporate backstory through summary, exposition, flashback, and narrator recollection. We will also discuss some of the reasons that backstory has gotten a bad rap.”

We will look at examples from short stories and novels and engage in in-class exercises that focus on setting and backstory. Participants will use these exercises to create work at home, which we will workshop during the last two weeks of class. “My goal,” Lori says, “is for us to think about these craft elements in ways that are new and generative.”

Lori Ostlund’s novel After the Parade (Scribner, 2015) was shortlisted for the Center for Fiction First Novel Prize, was a finalist for the 2016 Ferro-Grumley Award for LGBT Fiction and the Northern California Book Award for Fiction, and was a Barnes and Noble Discover Great New Writers pick. Her first book, a story collection entitled The Bigness of the World, won the 2008 Flannery O’Connor Award, the Edmund White Debut Fiction Award, and the 2009 California Book Award for First Fiction. Stories from it appeared in the Best American Short Stories and the PEN/O. Henry Prize Stories. Scribner reissued the collection in early 2016. Lori received the 2009 Rona Jaffe Foundation Award and a fellowship to the Bread Loaf Writers’ Conference. Most recently, her work has appeared in ZYZZYVA, The Southern Review, and the Kenyon Review.

Inventing Truth: The Art and Craft of Memoir

by William Zinsser

Paperback – 224 pages Revised edition (May 1998)
Houghton Mifflin Co (Pap); ISBN: 0395901502 ;
Dimensions (in inches): 0.63 x 8.28 x 5.55

List Price: $13.00 Our Price: $10.40 You Save: $2.60 (20%)


How to Get Happily Published

by Judith Appelbaum

Paperback – 380 pages 5th edition (April 1998)
HarperCollins (paper); ISBN: 0062735098 ;
Dimensions (in inches): 0.97 x 8.02 x 5.34

List Price: $14.00 Our Price: $11.20 You Save: $2.80 (20%)


Intro to Screenwriting – The five stages of writing any screenplay

Five Sundays, June 3rd thru July 1st, 7-9:30 p.m. San Francisco
$165 members/$195 non-members

The basic premise behind almost every successful feature film can be stated in one simple sentence: Someone we care about wants something badly and is having a terrible time getting it. "Pretty simple, right?" says instructor Terrel Seltzer.  "But how do you make a character sympathetic? How do you establish a compelling desire?  How do you structure rising tension so that the Hollywood Reader keeps turning the page? That’s the art and the craft of screenwriting." 

In this class, every aspect of writing your screenplay will be explored in the following five stages:  Story Concept; Characters; Plot Structure; Individual Scenes; Writing Visually. "As in my nine-week class," says Terrel, "my approach is to teach by personal example, to provide a professional insider’s look at the screenwriting process.  By studying scripts of well known movies and referencing my own work, I’ll take you through the process of choosing and writing a viable story premise, and then how to work that premise into a feature length screenplay." Writing assignments (for those who want to do them) will encourge students to devolop an idea, or to hone an alreadly written screenplay into a more polished spec script.

Terrel Seltzer is a self-taught screenwriter. She learned the craft by watching and outlining literally hundreds of movies.  Her career started in the Bay Area, working with SF director Wayne Wang, for whom she wrote the screenplays for the independent films Chan is Missing and Dim Sum. Her two produced Hollywood screenplays are How I Got into College (with Lara Flynn Boyle and Anthony Edwards) and One Fine Day (with Michelle Pfeiffer and George Cloony). Currently, she has two scripts in development: Magick written for director Robert Zemeckis at Dreamworks,  and Foolproof, a spec script recently optioned by Warner Brother Classics.

Humor Writing – Transforming life’s disasters into laughter

pamelabass21 Nine Weeks, 7-9:30 p.m. San Francisco
$335 members/$365 others (this class is not currently scheduled)

Have you ever noticed that your most neurotic traits make for funny stories? Have you found yourself laughing over past personal disasters? In this class you’ll explore ways to craft these tales into prose. “Director Mike Nichols once said, ‘The great thing about being an artist is that for most people a shitty day is just a shitty day, but for us it’s all material,'” notes instructor Pamela Bass. Class members will explore the writings of funny writers such as Anne Lamott, David Sedaris and Jazmin Darznik. You’ll also do in-class and take-home writing exercises, to be shared and discussed in a supportive way.

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Elaine Beale: Creative Writing Boot Camp

elainebeale825093 Sundays, September 11 – September 25, 2-5pm 
$170 members/$190 others 
Testimonials for Elaine

You’re interested in improving your creative writing skills and you definitely want to write more. But attending a five- or nine-week class just won’t fit into your busy schedule. It’s too challenging to make anything more than a short-term commitment for now.

This workshop is designed for people just like you. Over three weeks, we’ll put you on the fast track to becoming a better writer and help you figure out how to get more writing done.

Over a short time, you’ll learn the fundamentals of what makes good writing. You’ll learn how to avoid the common mistakes made by “apprentice” writers. You’ll get an opportunity to practice writing skills, get feedback, and get your creative juices flowing. And you’ll get support in developing a writing routine that works for you.

“Of course, every writer’s voice is different and everyone has their own individual style,” says instructor Elaine Beale. “Nevertheless, there are some fundamental guidelines to writing effective and powerful creative prose. Everyone should learn them. In fact, learning those guidelines can help you find your voice as a writer.”

Designed for anyone who wants to newly explore creative writing or improve their skills, Creative Writing Boot Camp will be highly interactive. There’ll be lively discussion, in-class exercises, and plenty of inspiration. What’s more, each week you’ll leave with materials and assignments that will help you put into practice what you’ve learned.

“We’ll pack a lot in,” says Elaine. “It will definitely be a ‘boot camp.’ But it will also be a fun, focused, and highly productive three weeks.”

Elaine Beale’s second novel, Another Life Altogether, was published by Random House in 2010. It has received praise from the Boston Globe, Lambda Literary, Curve Magazine, the Bay Area Reporter, and Publishers Weekly, among others, and it was featured in Oprah Magazine. Elaine was the winner of the 2007 Poets and Writers California Writers Exchange Award and has an MFA in Creative Writing from the University of British Columbia. She has taught creative writing for more than a decade.

The Observation Deck: A Tool Kit for Writers

by Naomi Epel

Paperback – 160 pages Book&cards edition (September 1998)
Chronicle Books; ISBN: 0811814815 ;
Dimensions (in inches): 1.63 x 6.65 x 5.13

List Price: $19.95 Our Price: $15.96 You Save: $3.99 (20%)


How to Write Irresistable Query Letters

by Lisa Collier Cool

Paperback – 136 pages (March 1990)
Writers Digest Books; ISBN: 0898793912 ;
Dimensions (in inches): 0.50 x 9.00 x 6.03

List Price: $12.99 Our Price: $10.39 You Save: $2.60 (20%)


Write from Real Life – Personal Essays Workshop

register_off-70x18.gifNine Sundays,  July 15th thru Sept. 22nd

(no class Sept. 2nd), 7-9:30 p.m. Berkeley
$315 members/$345 non-members

This class combines the energy and expertise of two of our favorite teachers, Suzy Parker and Alison Luterman. Suzy will help you get those creative juices flowing. She’ll rip through the nuts and bolts of the personal essay by presenting dozens of quick and clever exercises, and by examining your own and other people’s essays. "I like to pack as much into class as possible," says Suzy. "Students will leave every week with an abundance of new and imaginative ideas."

Alison will focus on helping you to identifying your personal themes, the stories you each return to tell, over and over again. "Every one of us is neck-deep in the middle of our own long and winding stories – stories that, when shared, can help us to bridge the gap between ourselves and the rest of the world," she says. "What’s wonderful about finding and honing these stories – about being a writer, in fact – is that it redeems everything, even the moment of burning shame when you flunked the driving test three times, even the fact that you could never decide what you wanted to be when you grew up. It reminds you that once you were twenty and limber and unafraid to sleep in the cornfield when hitchhiking across France. And, like the smell of fresh coffee or the first kiss of summer on your cheek, it heightens the senses. We’ll workshop your essays from the standpoint of craft, voice, and structure, using the techniques of fiction writing, playwriting, and even poetry to enliven your writing."

Suzy Parker has been published in the San Francisco Chronicle, Washington Post, Chicago Tribune, San Jose Mercury News, The Sun, Hope, the Chattahoochee Review,, ZYZZYVA and elsewhere. Her commentaries have aired on NPR’s Morning Edition and KQED’s Perspectives. She is a winner of the Richard J. Margolis National Literary Award, the California Independent Newspapers’ Writer Prize and the Best of the West Award for most outstanding columnist in a daily newspaper west of the Mississippi. The movie rights to her memoir, Tumbling After, have been optioned by HBO. Her personal essay column appears weekly in the Berkeley Daily Planet.

Alison Luterman has been shamelessly telling tales from her own life ever since she could grip a sweaty pencil. She has published essays in The Sun, Radiance, Response, The East Bay Express, and The Boston Phoenix. Her book of poems, The Largest Possible Life, won The Cleveland State University Poetry Prize. She has taught poetry to thousands of school children through California Poets in the schools. The great love of her life is performing improvisational dance, singing, storytelling and poetry through the Wing It! performance ensemble. She has given workshops and readings around the country, and recently completed her first full-length play, Saying Kaddish with my Sister.

"Alison Luterman’s teaching style…."

"…touching and delicious…"

 "Thanks to everyone…"

"…I’ve already gotten my money’s worth!…"

Busting through Writer’s Block

elainebeale82509Saturday, Oct. 17th, 10 a.m. to 4 p.m.     San Franciscoregister_off-70x18
$95 members/$110 non-members

ATTENTION: This class is no longer open. Please don’t register for it.

Writer’s block.  It’s the curse of even the most experienced writer and stops beginners before they’ve even put a word on the page.  We may believe that we want to write, but instead we find ourselves rearranging the spice rack, repainting the kitchen, sorting our sock drawer.  Or perhaps we do actually get down a few sentences, but we don’t like what we’ve written or even if we do, we don’t think anyone else will be interested in what we have to say.  Or we just feel uninspired, in need of an infusion of energy.

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Exploring Your Writer’s Voice: How to Generate New Work & Actually Have Fun in the Process!

9 Weeks, 7-9:30 p.m. (this class is not on the current schedule of classes)
$335 members/$365 others
San Francisco

If you’re generating new ideas for a project that’s been in your head for awhile, this class is the perfect place for you. “Getting feedback on a printed manuscript is a helpful process,” says instructor Chris DeLorenzo, “but writers also need a place to explore ideas and generate first draft writing. This class is the perfect place to do that.”

Based on the Amherst Writers and Artists method, this class provides a safe, fun environment, utilizing spontaneous writing exercises that help unlock ideas for poems, stories, and dialogue. You’ll have a chance to focus on the building blocks of effective writing: description, sensory details, and narration, and you’ll find yourself actually enjoying the process!

Each class offers students several writing sessions. After writing, students volunteer to read their work out loud and receive feedback. “What’s unique about this method,” says DeLorenzo, “is that students only offer positive feedback on what’s read out loud: no criticism. This really helps writers to grow their new projects.”

The writing exercises in this class with help you to stretch as a writer, to expand on your ideas, or return to past ideas and help you to develop them. Feedback from the instructor, as well as the other students, allows each writer to really hear what’s working in these first drafts for the first time. “That’s something writers can’t do on their own,” DeLorenzo reminds us. “We need other ears; we need other writers.”

Chris DeLorenzo has an MA in creative writing and is a certified Amherst Writers and Artists method (AWA) facilitator. He teaches writing at the University of San Francisco and has published poetry, prose and personal essays in numerous publications. He has also written two novels,  Certain Sacred Places and All That Remains.



“. . . what a gift Chris DeLorenzo has been. . .”


Ben Jackson: Intro to Creative Writing

Ben_Jackson5 Tuesdays, August 16 – September 20, 7-9:30pm   Berkeley
Skip August 23
$215 members/$245 others  

In this beginner’s course, you’ll be introduced to creative nonfiction (i.e., personal essays/memoirs), fiction, and poetry. Ben will give you writing prompts to spark your imagination and to draw out stories. In fun and instructive exercises, you’ll explore craft basics such as developing compelling characters and creating believable dialogue.

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On Becoming a Novelist

by John Gardner

Paperback – 172 pages (October 1999)
W W Norton & Co; ISBN: 0393320030 ;
Dimensions (in inches): 0.43 x 8.27 x 5.52

List Price: $12.00 Our Price: $9.60 You Save: $2.40 (20%)


Literary Agents: What They Do, How They Do It,

by Michael Larsen

– 207 pages 1 edition (July 30, 1996)
John Wiley & Sons; ISBN: 047113046X ;
Dimensions (in inches): 0.67 x 9.03 x 6.03

Our Price: $14.95


Revision Play Day

jane502Sunday, March 7th, 10 a.m.-4 p.m.     San Francisco
$95 members/$110 non-members  register_off-70x18

“Writing a rough first draft often feels more like play than work,” says Jane Underwood. “The words flow or even burst out, and you can be swept up in the thrill of simply getting something, anything down onto paper.

“Revision, on the other hand, tends to come in fits and starts, and to many beginners (or even pros!) feels more like work than play. But if you want to be a serious writer, you’ve got to rise to the revision challenge. You must go back and add more. Or, conversely, go back and subtract. You also have to think about things like order and structure and, god forbid, what you’re really trying to say. The list goes on. Your revision options are so numerous they can be downright daunting. But guess what: it doesn’t have to be that way. Revision can be pleasurable, exciting, and even fun. Yep, fun.

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