You must use YOUR name on the checkout form, because your name is on the credit card you are using to make the purchase. However, you can put the gift recipient's name and email address in the spaces further down on the checkout form that ask for: "Name of Student, if Different from Person Paying" and "Email of Student, if Different from Person Paying." That way we will know who the gift certificate is for, for our records. But the automated purchase confirmation and receipt emails will go only to you, the purchaser.

We don't send printed or emailed gift certificates. You will need to present the gift to your recipient in the form of a card, note or verbal communication.

Gift recipients can then simply call the Writing Salon, give us their name (we keep a records of gift certificates that have been purchased), and tell us which workshop they want to take. If they want to take a longer class, they can simply pay the additional amount. Please remember, gift certificates are good for only one year from date of purchase.

If you’re eager to share a story with the next generation of readers, this workshop will stoke your creative fire, hone your writing craft, and give you invaluable insight into the world of children's publishing. Whether you're interested in picture books, chapter books, or young adult novels, this class will help you to begin new projects or further develop projects that you've already begun.

Class time will be divided between workshopping and in-depth discussion of strategies for getting published. You'll learn the ins and outs of the children's book market — how to find and approach editors and agents, how to write stand-out query letters, how to craft submissions that shine, what to do when an editor or agent requests revisions, and how to negotiate for a higher advance.

Every week, students will submit pages from a work-in-progress, or responses to weekly writing prompts. "We’ll examine what makes writing books for children different than writing books for adults," says Lindsey. "We’ll also explore how to find a voice that young readers will love. And at the end of the course, you will have the option to submit a query letter and your work to me for additional critique."

As a child, Lindsey Alexander wrote fan mail to her favorite authors and illustrators, a number of whom, she says "amazingly wrote back." Years later, as an editor at HarperCollins Children’s Books, she had the pleasure of collaborating with some of these same talented people. Among the authors she's worked with are Sarah Weeks, Laura Numeroff, Jean Craighead George, and William Joyce. Lindsey holds an MFA from The New School University and has taught at The New School and the Monterey Bay Writers Studio. As an editorial consultant, she works with a variety of clients, including both trade and academic publishers, and literary agencies.

"But my favorite was 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 the world. 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."

This down-to-basics introduction to the world of magazine writing will cover: How to get ideas, determine your market, and write query letters that editors will read. "We'll go over the rules of the game (and when to break them)," Cary says. "We'll talk about getting rejected (and how to handle it), as well as getting accepted (and how to handle THAT!). We'll also discuss the ins and outs of dealing with editors, how to be a professional, and how to use one article to get an assignment for another one." This workshop will give you a keener understanding of the world of magazine writing, and tips on how to get started (or, if you've already started, to take yourself to the next level).

Cary Pepper has been a freelance writer for 30 years. He has published dozens of articles in such publications as The New York Times, TV Guide, Premiere, Advertising Age, Town and Country, and Mad. He is also an award-winning playwright whose work has been produced throughout the U.S. and in Europe. He has taught writing at Media Alliance, the San Francisco Art Institute, and privately.

The Round Robin is based on the same premise,” says instructor Jane Underwood. “The more you use your writing muscles, the more you will tone and strengthen them. The primary focus is PRACTICE. Every day you will practice your writing, in the same way that a piano student practices the piano or a swimmer swims laps.”

This class is structured around a carefully facilitated exchange of daily emailed writings (based on prompts provided by Jane) among all class members, plus two in-class meetings.

Round Robin’ers aim to do three things: 1) write regularly, 2) enjoy and explore the process of writing freely and playfully (discovering what you have to say in the act of saying it), and 3) “partner” on a rotating basis with classmates. (“Partnering” will be explained at the first meeting.)

“We might talk about some basic elements of craft during class meetings,” says Jane, “but the main focus of this class will not be discussions of craft. The focus will be on finding the inspiration, motivation and self-discipline to keep writing and to keep generating raw material that you may eventually choose to rewrite, revise, and publish. It will also be about learning to recognize and appreciate the strength of your natural voice, before you have a chance to snuff it out by revising your work too hastily.”

Writers in all genres and at all levels of experience have participated in this class, and we have many Round Robin returnees who take the class year-round.

NOTE: Attendance at the first meeting is mandatory for newcomers and strongly encouraged for returning participants. Attendance at the final meeting is also strongly advised for ALL participants. In addition, every class member must commit to full participation on a daily basis.

Jane Underwood, founder of The Writing Salon, has been a writer, editor and teacher more than 30 years. Her poetry, prose, erotica, articles and essays have appeared in print and online periodicals (SF Chronicle, The Sun, Five Fingers Review, Quarterly West, Western Humanities Review, Libido, babycenter.com, Conversely.com, Salon.com), anthologies (The Ecstatic Moment, Yellow Silk, Ripe Fruit, Best Women’s Erotica, Nesting: It’s a Chick Thing), and on stage (Lilith Theater). She holds a masters degree in creative writing, has taught many creative writing classes, ranging from introductory classes to erotica writing to personal essay writing. She has been leading “Round Robin” groups for six years.

This workshop will aim to help you hear the sound of your authentic writing voice, because once you feel secure with the individuality of your voice, you’ll grow immeasurably as a writer. “What I want you to explore,” says Chris DeLorenzo, “is a sense of the ways in which your voice comes across as one-of-a-kind. Only then can you learn to let go of self-conscious writing—writing that sounds the way you think it’s supposed to sound.”

This class will be organized around in-class writing, focusing on concrete details, description and dialogue, along with a healthy dose of “silliness, wackiness, and playfulness,” says Chris, to balance the serious stuff. “You’ll be given permission to write anything you want,” he adds, “in order to discover the joy and spontaneity of creating from the internal ‘dream space’ of the imagination, and to more deeply explore the question: ‘What do I have to say as a writer?’”

Based on the Amherst Writers and Artists method, this class fosters a sense of safety and mutual trust among participants. “Many classes and workshops are about having someone else define and critique your work,” says Chris, “whereas my workshops are about allowing you to do that for yourself, by reflecting on the positive feedback that you get from me and your classmates. Our goal is to help each of you claim yourself as a writer and learn to access the vocabulary of writing and offering feedback.”

In this class you’ll write a lot, volunteer to read out loud, learn to sound more like yourself, and have fun supporting your fellow writers as each of you works toward finding your truest writing voice. (Note: This class is NOT a workshop for writing that has been done prior to taking this class, or for writing done at home, between class meetings.)

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.

This workshop will aim to help you hear the sound of your authentic writing voice, because once you feel secure with the individuality of your voice, you’ll grow immeasurably as a writer.

“What I want you to get out of this morning exploration,” says instructor Chris DeLorenzo, “is a sense of how your voice comes across as one-of-a-kind. Only then can you learn to let go of self-conscious writing—writing that sounds the way you think it’s supposed to sound.”

This workshop will give you three hours of writing exercises designed to encourage writing with concrete details, description and dialogue, along with a healthy dose of silliness, wackiness, and playfulness to balance the serious stuff.

“You’ll be given permission to write anything you want,” says Chris, “in order to discover the joy and spontaneity of creating from the internal ‘dream space’ of the imagination, and to more deeply explore the question: ‘What do I have to say as a writer?’”

Based on the Amherst Writers and Artists method, Chris’s workshop encourages a sense of safety and mutual trust among participants. “Many classes and workshops are about having someone else define and critique your work,” says Chris, “whereas my workshops are about allowing you to do that for yourself, by reflecting on the positive feedback (as opposed to critiques) that you get from me and your classmates.”

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 a novel, Certain Sacred Places. (Tip: You may want to check out this book: Writing Alone and With Others, by Pat Schneider, founder of the Amherst Writers and Artists Method. It’s not required for this class, but you might enjoy it!)

You'll do plenty of writing and reading, and have lively discussions about both the craft and the process of poetry. The weekly homework assignments (workshopped the following week) are designed to provide fresh angles of approach that can suprise, even startle, both the writer and his/her readers. "We all get stuck in ruts," Julie says, "and the class offers ways of digging ourselves out, whether we use these strategies to simply get started at writing or to revise a particularly challenging poem."

The class is suitable for a wide spectrum of people. "We've had students with an interest in poetry but no experience writing it, and others with MFA's from Iowa, and it's always been a good mix", says Julie. "The focus of the class is generative--to get everybody going and excited about doing new work, to take away strategies that can help with their current and future writing--and to have a great time while we're at it."

Julie Bruck has taught at several Canadian universities, and was a resident faculty member at The Robert Frost Place. She has an MFA from Warren Wilson, fellowships from The MacDowell Colony and the Canada Council, and has published two collections, The Woman Downstairs (1993) and The End of Travel (1999). A third book is in the works. Her work has appeared in The New Yorker, Ploughshares, and Ms. New poems are forthcoming in The New Yorker and The Malahat Review. A Montreal native, she has lived in San Francisco for eleven years.

“Life pulls us in so many directions that our creative projects can be the first to suffer,” says instructor Joshua Mohr. “This continuation class will help you finally get those narratives written.”

The workshop will focus on generating pages, pages, and more pages. You’ll meet once a month for a “state of the union” session, but the bulk of the course will take place between meetings. Through weekly email appointments with Josh and your page-partner, you'll receive support to keep the momentum going. There will also be bi-weekly e-submissions, in which students send their next chunk of material out for feedback. “The class covers six months,” Josh says. “So if you stick to the page mandates, you’ll have a huge chunk of material done by the end of class.”

Participants will also engage in lively discussions about plot and scene structure, character arcs and development, as well as tactics to maximize imagery, symbolism, and metaphor. Unavoidably, too, during the “state of the union” sessions, lectures will stray into the realm of revision tactics, as these curiosities are universal and helpful to all writers. “Most importantly,” says Josh, “students will leave the class with the proof that we CAN make time in this busy world to bring our imaginations to life.”

Joshua Mohr is the author of the novel Some Things that Meant the World to Me. His second novel, "From a Fragile Galaxy," is due out in June 2010. He has an MFA from the University of San Francisco, and also teaches through UC Berkeley's ASUC studios and a local halfway house, and has also published numerous short stories, including one, "Dressing the Dead" that was featured in the New Short Fiction Series' emerging American writers show in Los Angeles.

They want to write, or they tinker with two-pages and never get around to completing the piece, or they have ideas rollicking through their brains that haven’t, as of yet, made it to the page. But they all come to class with one common goal: they want to write a compelling story.

In this workshop-intensive course, every student will bring in stories (at least two) for their peers to discuss, critique, and deconstruct, in positive, nurturing ways. Everyone is here to learn, to improve, and the workshop environment is key for a writer to understand all aspects of story-telling. “Writers need readers,” says instructor Joshua Mohr. “We need other eyes to help us identify our story’s strengths. But just as important as praise is hearing what readers are not responding to. This is how we grow, hone a style and voice, and in the end, publish.”

The class will also emphasize revision tactics: how to take a flawed draft and renovate it. “Each student will complete an entire revision,” says Josh, “and will finish the course with a broader understanding of the hard work necessary to take a sloppy, first draft and turn it into literature.”

NOTE: Many students who have taken Junse Kim’s 5-week “Intro to Fiction” class will take this class next, and some people enroll in this class more than once because it’s a great way to keep the momentum going. Another “keep going” option is Josh’s “Fiction Continuation” workshop, which meets once a month for six months, instead of once a week for 9 weeks.

Josh Mohr is the author of the novel Some Things that Meant the World to Me. His second novel, Termite Parade, is due out in June 2010. He has an MFA from the University of San Francisco, and also teaches through UC Berkeley’s ASUC studios and a local halfway house, and has also published numerous short stories, including one, “Dressing the Dead” that was featured in the New Short Fiction Series’ emerging American writers show in Los Angeles.

How does a writer compress plot and characterization into a few hundred words? Is it possible to elicit an emotional response in a reader in merely two or three pages?

“Every writer should be concerned about economy, should deliberate over word choice,” says instructor Josh Mohr. “Whether a short story writer or novelist, we should be scrutinizing every clause, making sure each syllable earns its space. In a sense, flash is the perfect genre to hone revision techniques.

“In this mini-intensive, we’ll read a few wonderful short-shorts, and do a few exercises. “We’ll experiment and play,” says Josh. “Hopefully, after approaching flash fiction from some different vantage points, you’ll find a technique that resonates with you.”

Joshua Mohr is the author of the novel Some Things that Meant the World to Me. His second novel, From a Fragile Galaxy, is due out in June 2010. He has an MFA from the University of San Francisco, also teaches through UC Berkeley’s ASUC studios and a local halfway house, and has published numerous short stories, including “Dressing the Dead, which was featured in the New Short Fiction Series’ emerging American writers show in Los Angeles.

fiction, poetry, creative nonfiction, memoir, humor, essays and more. "We'll address the intersection of reality and imagination," says Jenny, "with a little reading, weekly writing exercises, handouts and discussion to get your pens (and brains!) flexing.

"We'll play with basic elements of craft, such as concrete detail — is it a car, or a 1968 Buick Skylark? We'll learn how to see more clearly with our eyes closed — and then stamp our imaginary visions onto paper. And we'll explore the fundamental questions of all creative writing: What is story? What is conflict? What is voice? And, most importantly, What is my voice?"

Jenny Pritchett holds a degree in magazine journalism from Northwestern and an MFA in creative writing from SFSU. The former managing editor of Fourteen Hills, she has taught or lectured at SFSU, California College of the Arts, and Ex'pression College for Digital Arts. Her debut story collection, At or Near the Surface (Fourteen Hills Press), won the 2008 Michael Rubin Chapbook Award. She has been nominated for a Pushcart Prize and published in Southwest Review, Northwest Review, Boulevard, Salt Hill, Fiction Attic, Best of the Web 2008 and elsewhere. In January 2008 she was a writer-in-residence at the Ragdale Foundation in Illinois, where she returned in April 2009 to complete her novel, Believe Me When I Tell You, now represented by Zachary Shuster Harmsworth.

It’s the equivalent of, say, an aspiring carpenter who has committed to building a beautiful house, yet doesn’t know how to hammer in a nail or saw a piece of wood.”

In this class, you’ll develop concrete skills and narrative techniques through fun writing exercises designed to help you master your craft. At the end of five weeks, you’ll have a better grip on how to use these techniques (for developing character, setting and plot) as tools for building your story. The class will also analyze other narrative genres, from movie scenes to comic books, to analyze storytelling skills you can apply to your fiction writing.

NOTE: We used to advise people to take this class BEFORE taking the 9-week Fiction Workshop. However, we’ve discovered that some people have found it just as valuable to take the 9-week Fiction Workshop first, and this one second! In fact, Junse has had quite a few MFA creative writing graduates who take this “intro” class, even though they aren’t beginners. So it’s really up to you. We don’t have any strict rules about it.

Junse Kim, like many Writing Salon students, didn’t begin to pursue a writing life until well after graduating from college. Before ever taking a writing class, he worked as a concert promoter, Peace Corps volunteer, managerial consultant, scriptwriter, nonprofit fundraiser, and “full-time” temp. He has since received a Pushcart Prize (for his short story Yangban), a Faulkner Award, and the Philip Roth Residence in Creative Writing at Bucknell University. His fiction and creative nonfiction have been published in the Ontario Review, ZYZZYVA, and Cimarron Review, as well as two anthologies: Pushcart Prize XXVII and Echoes Upon Echoes: New Korean American Writing.

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 write, but you don’t know where to start, this is your class. “By the end of class,” says Jenny Pritchett, “you’ll walk away with a rough draft of a personal essay.

“With the help of in-class writing exercises and discussions, we’ll bring your theme into focus; you may not be able to cover your entire family saga in 800 words, but you can write a funny, sad, poignant essay about the Christmas Eve your uncle got drunk and set in motion an irreparable series of events that affects your family to this day.

“We’ll expand your stories to get every last detail on the table, and through group work help each other unpack our memory suitcases. Finally, we’ll look at a series of effective published essays, examine the nuts and bolts of how they were put together, and discuss why–or why not–an essay pierces us to the core.”

Jenny Pritchett holds a degree in magazine journalism from Northwestern University and an MFA in creative writing from SFSU. She has published personal essays on Salon.com and in the San Francisco Weekly, Northwestern, Girlfriends, Bitch, and XY magazines. The former managing editor of Fourteen Hills, she has taught or lectured at SFSU, California College of the Arts, and Ex’pression College for Digital Arts. Her debut story collection, At or Near the Surface (Fourteen Hills Press), won the 2008 Michael Rubin Chapbook Award.

Perhaps a little advice or a few ideas about doing it better? Curious about how other people are doing it?

Let's get together and talk about it over wine and cheese, coffee or tea, and a couple of brownies.
Bring in a query letter you've written (or one you're trying to write) for feedback. See what works
(and what might not) in the queries other people are writing. And be that much closer to landing an assignment.

Cary Pepper has been a freelance writer for 28 years. He has published dozens of articles in such publications as The New York Times, TV Guide, Premiere, Advertising Age, Town and Country, and Mad. He is also an award-winning playwright whose work has been produced throughout the U.S. and in Europe. He has taught writing at Media Alliance, the San Francisco Art Institute, and privately.

Both the distant past and the not-so-long ago can be mined, remembered and re-created skillfully in writing. This class is a guide to the mining and refining process. “The gold of memoir,” says instructor Kathleen McClung, “combines the gifts of a novelist—vivid characters and settings, lively and suspenseful narration—with a poet’s introspection and close attention to language.

“In this class we’ll focus on finding and shaping evocative stories from our own lives, stories that build from our specific and unique life events and move toward resonant, universal themes. Through readings, discussions, and writing exercises, we’ll explore the basic elements of memoir: selecting key moments and passages, scene-setting and dialogue, using fresh sensory detail, reflecting and musing on the meanings of our experiences so that our work “speaks” to readers. We will find and fine-tune our own distinctive writing voices, essential for this genre.

Class participants will have opportunities to try their hand at writing and sharing short memoir pieces and will be guided in giving and receiving encouraging, constructive feedback for ways to develop/deepen the writing. Readings will include excerpts from Judith Barrington’s Writing the Memoir and Tristine Rainer’s Your Life as Story, as well as work by a variety of contemporary memoirists.”

Kathleen McClung has mentored hundreds of writers at Skyline College, the Writing Salon, and other colleges, and she has taught/advised student teachers in the credential program at Mills College. She has also edited books at small presses including UCSF Nursing Press, Food First Books, and Westview Press. Her memoir, fiction, and poetry have been published in Spirituality & Health, The Rambler, Hawaii Pacific Review, Poetry Northwest, Tiny Lights, Hot Flashes, off our backs and elsewhere, and her work has received awards from the Soul-Making Literary Competition, Memoirs Ink., San Francisco Bay Guardian, Writers Digest, the National Society of Arts & Letters, and the Academy of American Poets.

"Most of us need help with that," says instructor Karen Bjorneby. "We need someone in our corner, gently enforcing some discipline while at the same time encouraging us. We need someone to kick ideas around with. We need help with craft, someone to help us make sure our story is coming together. And we need to be around others who are in the same boat."

So come join a group of other people who can help you with discipline, encouragement, focus and craft. "You'll check in with me once a week," says Karen, "giving progress reports and letting me know if you're having any difficulties I can help with. You'll also have a writing partner with whom to swap pages and exchange gentle critiques. At the monthly meetings, I'll give you craft exercises to help solve the problems I see people having, and twice during the six-month period, you'll have the chance to have a chapter read and discussed by the group as a whole, and to receive written feedback from me."

Taking this class may mean giving up an exciting date night, movie, or whatever your brand of TGIF fun may be, but hey, that's a small price to pay for completing your novel, right?

Karen Bjorneby started writing by participating in workshops just like this one. She is the author of Hurricane Season: Stories from the Eye of the Storm (Sourcebooks, 2001), which received a Foreword Honorable Mention as best independent/university press short story collection of the year at Book Expo America. She has received a Pushcart Special Mention, two other Pushcart nominations, a National Magazine Award nomination, and she was named a Tennessee Williams Scholar at the Sewanee Writers’ Conference. Her fiction and poetry have appeared in nearly two dozen publications including The Threepenny Review, The North American Review, New Letters, StoryQuarterly, Confrontation, The New Orleans Review, The Nebraska Review, and The Sun. She is currently at work on her own novel and, she says, is "very familiar with the pitfalls along the way, having fallen into several of them myself."

maybe you shy away from talking about it with your co-workers, neighbors or brother-in-law (you know the way he rolls his eyes and calls you a dreamer). So come to this workshop instead, where you’ll meet other people who are doing what you’re doing, or want to do. "We’ll talk about your idea, how to make sure it has enough weight to carry a novel," say Karen Bjorneby. "We’ll talk about your character and make sure she’s so compelling we all can’t wait to find out what she’ll do next. . . what changes is she going to go through along the way? We’ll talk about plot; how are you going to make enough things happen? Or how are you going to keep from being melodramatic? We’ll talk about structure—how do you organize this huge thing and not get overwhelmed?

"We’ll share tips on the process, on getting the pages written, on keeping going, on when to go back and revise and when to keep moving ahead. And of course we’ll be talking about the nuts and bolts of craft—making your scenes work and your voice sing."

With the help of various writing exercises, class members will work on developing written plot summaries, making sure there’s enough action and enough character development. "Our goal is to get you so close to your main character you’ll know all his secrets, hopes, fears, dreams...better than his own therapist would!" says Karen "We’ll also do writing exercises to help you connect with your setting. And we’ll share what you've written, so that you'll get feedback on your craft, your style, and on that special quality you bring to your writing that makes it uniquely yours."

Karen Bjorneby started writing by participating in workshops just like this one. She is the author of Hurricane Season: Stories from the Eye of the Storm, which received a Foreword Honorable Mention as best independent/university press short story collection of the year at Book Expo America. She has received a Pushcart Special Mention, two other Pushcart nominations, a National Magazine Award nomination, and she was named a Tennessee Williams Scholar at the Sewanee Writers’ Conference. Her fiction and poetry have appeared in nearly two dozen publications including The Threepenny Review, The North American Review, New Letters, StoryQuarterly, Confrontation, The New Orleans Review, The Nebraska Review, and The Sun. She is currently at work on her own novel and is "very familiar with the pitfalls along the way, having fallen into several of them myself."

In this info-packed class, Jenny will tell you what you need to know about submitting your work to literary journals and contests, and applying for residency programs.

You'll get the goods on what editors are looking for, and the basics of submitting: which journals publish new writers and which are a waste of your time, the truth about guidelines, why editors hate staples, and how to write a cover letter (and more importantly, how not to). You'll discuss the merits of contests and what you get (and what you don't), and how to identify--and budget for--contests and residency programs. Finally, you'll talk about how to keep track of your submissions, and what you need to know about contracts (for when the inevitable happens!) and First North American Serial Rights.

Jenny Pritchett is a long-time advocate of sending out your work! She's seen it from both sides: As the managing editor of Fourteen Hills, she published a few stories (and rejected thousands). As a writer she's published her own stories in prominent literary journals and an anthology, and won a chapbook award, which led to the publication of her first book, "At or Near the Surface". She has been awarded two fellowships from the Ragdale Foundation and another from the Squaw Valley Community of Writers. The first step to every success was sticking a story in an envelope and dropping it in the mail. Jenny will proudly display her pile of rejection letters from literary journals, contests, and MFA programs.

"Students at the Writing Salon often say that that a firm deadline or a community of other writers in which to share writing feels vital to their work," says instructor Julie Bruck, "but that can be difficult to maintain with a packed schedule, especially after your 5 or 9 week class has ended."

This poetry continuation class offers both structure and community for the long haul, and is designed for people who have previously taken the minimum of Julie's 9-week "Fearless Poetry" workshop--or the equivalent-- in poetry.

For six months, class will meet monthly for workshopping. Between classes, students will do take-home assignments, supplemented by scheduled group e-mail exchanges of poems, revisions and written responses to each other's drafts. Says Julie, "The focus will be on keeping the playful, generative flame going--writing new work that surprises us--while c0ntinuing to work on revisions. There is no one size fits all approach to what sustains a writer's practice, but this continuation class will offer an extended, supported, and realistic exploration of what true persistence can bring to bear. Expect some serious fun!"

Julie Bruck has taught at several Canadian universities, and was a resident faculty member at The Robert Frost Place. She has an MFA from Warren Wilson, fellowships from The MacDowell Colony and the Canada Council, and has published two collections, The Woman Downstairs (1993) and The End of Travel (1999). A third book is in the works. Her work has appeared in The New Yorker, Ploughshares, and Ms. New poems are forthcoming in The New Yorker and The Malahat Review. A Montreal native, she has lived in San Francisco for eleven years.

"You ground your readers in their senses — sight, sound, taste, touch and smell. You replace abstractions and generalizations with concrete images and specific details."

If you're thinking, Easier said than done, don't worry. There are hundreds of writing exercises that can help you learn to paint with words, and Jane has cherry-picked some of her favorites to share with you.

Whether you write fiction or poetry, screenplays or essays, magazine features or memoirs, you want your readers to experience the places, people, situations and things that fill your stories. If you can paint with words – if you can show more and tell less – you'll be much closer to success as a writer.

Jane Underwood, founder and director of the Writing Salon, has been a writer, editor and teacher for more than 30 years (and also leads the popular "Daily Write Round Robin" here at the Writing Salon). Her poetry, prose, erotica, articles and essays have appeared in numerous print and online periodicals (SF Chronicle, The Sun, babycenter.com, Five Fingers Review, Western Humanities Review, HOW(ever), Salon.com), anthologies (The Ecstatic Moment, Yellow Silk, Ripe Fruit, Best Women's Erotica), as well as on stage (Lilith Theater). She has a masters in creative writing, and is also an avid photographer, with a special affection for fallen leaves, decaying walls and quirky San Francisco stairways.