Creative Writing at URI            Summer Programs

http://www.uri.edu/artsci/eng/ReadWrite/creativeWriting.html

2015 Event Descriptions

Workshops

Workshops meet each day of the conference: Thursday afternoon, Friday morning, and Saturday morning.

Beginning Fiction – Jody Lisberger


Intermediate Fiction – Adam Braver

Artfulness in a narrative often is more essential to conveying a story’s meaning than the storyline. In other words, the power of a story is in the way one tells it—not just the content. But first, we’ll start with the question of what we’re writing and why we’re writing it: Why this aspect of the story? Why this perspective? Who cares? We’ll look at narrative strategies, asking questions of what makes a story artful, and what is the balance. We also will engage in writing exercises, and culminate the workshop with readings of an original short piece.


Advanced Fiction – Brian Leung

This fiction workshop will, of course, attend to the craft tools of plot, character, setting, and etc. but we will also explore the challenges and possibilities of writing outside one’s subject position as well pursuing form and structure beyond the traditional linear story form.  We’ll place a keen eye on invention, imagination, and surprise, exploring the difference between tool and gimmick.  Recognizing the economy of our time together, we’ll apply our discussion and exercises to the production of short-shorts/flash fiction, recognizing that most of us will go on to apply the workshop concepts to larger projects.


Beginning Poetry – Gregory Pardlo


Advanced Poetry – Tina Chang

The Sensual Form
This workshop is intended for writers who are interested in sensual detail (relating to or drawing from the five senses) with the understanding that poetry cannot exist without spirit, soul, shadow, intuition. In a portion of the class we concentrate feeling, narrative, memory, witness. The other half of the class is devoted to poetic devices, formal strategies, structure, rhythm, sound. We’ll have the chance to practice a traditional form such as the pantoum and ghazal and we’ll also practice a modernized form such as the contemporary zuihitsu, the pecha kucha, or erasure, all the while moving toward one’s own individualized form(s).


Creative Nonfiction – Karen Brennan


Memoir – Richard Hoffman


Screenwriting – Robert Leuci


Craft Sessions

Finding Truth Outside the BordersAdam Braver

In France, the distinction between fiction and nonfiction nearly is nonexistent. The fictional world (and its narrative conventions) mixes with the autobiographical or “real” world in a search for a larger truth—one not necessarily hemmed in by manmade borders. This is exemplified by the works of 2014 Nobel Laureate Patrick Modiano, as well as award winners from Gwenaelle Aubry to Delphine De Vigan. But given our cultural expectations, this can raise many questions. In this craft session, we will discuss such questions. What is truth? What are the ethics? What are the boundaries? This will follow with an exercise.


How to Lose at Family Feud and Live to Tell About ItBrian Leung

Most writers have ambitions of originality and fresh imagination, and yet, quite often we write “the top five answers on the board.” That is, we first imagine what most other people would imagine. This craft session for prose writers will embrace the metaphor of “losing at Family Feud,” as we discuss several examples of published writing that do just that. A brief writing exercise will give us a tool to take beyond the session and apply to our various writing projects.


Think Big We Do

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