The word “conflict” gets thrown around quite a bit when it comes to writing fiction. We’re told that stories must have conflict, that little engine propelling the characters down the narrative path. But for many of us, the idea of simply inserting conflict can feel blunt or unnatural, especially in the early stages of writing when we’ve yet to discover the exact contours of the conflict driving our stories.

So we write blindly. We find voice or a bit of language that feels energized and we follow it. There’s no conflict, but we trust this voice is trying to tell us something, so we listen. We listen for something expressed but unsaid. In other words, we listen for tension.

The goal of this workshop is to sharpen our senses for detecting productive tension in the early stages of the creative process. To do this, we’ll conduct a few writing experiments, including exercises that draw on the lost art of postcard writing. We’ll also read work from contemporary writers who provide examples of how subtle tension blossoms into full conflict in a completed story. Finally, we will each produce a work of short fiction or nonfiction (less than 750 words) to be workshopped during our second session. Note: This story will be written outside of workshop on Saturday afternoon and evening and workshopped on Sunday. Students should be prepared for a weekend of writing.

This is a generative workshop and open to writers of all levels. There’s no need to bring story ideas or works in progress. Come with an open mind and a willingness to be surprised by what you create.  

Written critique: Included in the cost of tuition is a written critique by the instructor of a story (up to 750 words) to be submitted by the student within one week after class.

If there’s one question that perpetually stymies writers it’s this: how much do I need to tell my reader before they get it? It’s a conundrum that applies to every aspect of prose whether describing setting, backstory, or a narrator’s thoughts or feelings. Give readers too few details and they’re grasping at straws to connect to the material. Give too much and the narrative drags, leaving the audience feeling pandered to.

Writing requires discipline and solitary focus, but it’s so crucial to get feedback during the process, combining honest critiques with encouragement. This course is designed to offer both—whether you’re working on stories, a novel, or work of autofiction. It’s also ideal for those looking to expand their literary community, including beta readers. The unique alchemy of a workshop provokes excitement, unexpected solutions and perspectives, and most importantly, support and camaraderie.

Classes will take place at the instructor’s home in the Marigny, and please note there is a (very mild-mannered) cat on the premises.

Creative Nonfiction blends elements of fiction and essay. It is a perfect medium for students who wish to write about their own lives in ways that will be compelling for other readers. Like fiction writers, we will work on building interesting stories out of our own experiences, with attention to striking details, characterization, and effective pacing.  Like essayists, we will also attempt to interpret our experience and draw lessons from it.  We will use the workshop method in our class: students will bring in their own work and we will read it and critique it. Depending on class size, each student will be expected to submit original work two to three times over the course of the session. We will also read a range of published creative nonfiction, to get a sense for the possibilities of the form.

This hands-on workshop is for any fiction writer–genre or literary–who wants to create visceral, palpable suspense on the page. We’ll take a deep dive into the fragile and powerful craft of suspense, including the narrative mechanics of building tension in-scene, atmosphere and setting as the handmaidens of discomfort, and the importance of withholding on the page. Short excerpts from contemporary writers will offer participants key insights into techniques for building suspense in fiction, before we move on to custom, guided exercises designed to generate material that will keep your readers on the edge of their seats.

As your instructor, I’ve spent decades writing and editing dark, suspenseful stories and novels that subvert genre expectations and leave readers feeling haunted and squirmy, so I’ll also be sharing personal experiences from my own writing process, including choices and challenges I faced in writing my latest novel, Rough Beast, a New Orleans noir psychological thriller. In short, I’ll be offering up to the class what I wish someone had shown me eons ago.

Test your skills: tuition includes written feedback from the instructor on a scene to be submitted via email in the week after the workshop. 2000 words max.”