TRANS (Is Not An Abbreviation) Writing Transgender Characters through the lens of the body taught by Claire Rudy Foster
4 Zoom Sessions
January 4, 11, 18, 25, 8-10 pm ET
$200
Class limit: 12
Questions: [email protected]
This workshop will discuss how to write about transgender characters through the lens of the body. Transgender bodies are vilified, objectified, fetishized, and punished. How do we write about trans joy, pleasure, and freedom? Writers will generate body-specific pieces of imagined or experienced memoir and learn about how to create transgender characters that avoid cliched, harmful tropes. Cisgender students are asked to read a sensitivity statement before attending.
WEEKEND WRITING for practice and inspiration
open to all levels and genres|Taught by Cleaver Editor Andrea Caswell
4 weeks, Sundays 10:30 am – 12:00 pm ET Session 3: March 7, 14, 21, 28 $120 Session 4: April 11, 18, 25 $90
Session 5: May 2, 16, 23, 30 $120 Session 6: June 6, 13, 20, 27 $120 Class limit: 12 This class can be repeated monthly. (Re-registration required). Questions: [email protected] WEEKEND WRITING is a weekly generative writing session for writers of all levels and genres. Every Sunday, enjoy this 90-minute writing retreat as we read and discuss short prose, experiment with optional prompts during focused in-class writing time, and nurture a personal writing practice rooted in curiosity and creativity. Whether you want to build structure into your writing week or simply play in your notebook, you’ll enrich your weekend with other writers in a motivational and supportive setting.
“How we spend our days is, of course, how we spend our lives. What we do with this hour, and that one, is what we are doing.” ~Annie Dillard, The Writing Life
The class can be repeated as many times as you like.
What you’ll get from this class:
– Once a week, real-time meetings with your instructor and fellow writers
– Reading and discussion of short inspirational texts
– Dedicated in-class writing time each week
– Optional prompts that invite experimentation and discovery
– Consistency in building a personal writing practice
– A safe and supportive writing community
“I found Andrea’s creation of a “gentle accountability, as she once put it, very effective.”
“I really appreciate writing in community without the pressure of sharing or workshopping. For me, it’s most important to get my butt in the seat and keep it there, and this 90 minutes each week feels sacred and protected.”
Andrea Caswell ‘s writing has been published widely in print and online. Her work appears or is forthcoming in Tampa Review, River Teeth, The Normal School, Columbia Journal, Atticus Review, and others. She holds a master’s from Harvard University and an MFA from the Bennington Writing Seminars. She’s a fiction editor for Cleaver Magazine, and is the founder of Lime Street Writers, a monthly workshop north of Boston. In 2019 her fiction was accepted to the Sewanee Writers’ Conference. A native of Los Angeles, Andrea now lives and teaches in Newburyport, Massachusetts. Contact her at www.andreacaswell.com.
POETIC ANATOMIES: Dissecting Form and Formlessness in Poetry Taught by Cleaver Poetry Editor Claire Oleson
5 weeks
January 16 to February 20 SOLD OUT
Class limit: 12
Questions: [email protected]
In this course, we will investigate how form is used in poetry to create meaning, house language, and allow the content of a poem to achieve a significance that echoes beyond the bounds of its literal words. Whether participants are wholly new to sonnets and couldn’t tell you whether a villanelle is part of a cake recipe or a manuscript, there will be room for growth, experimentation, and attentive feedback.
We will work primarily on generating new work, encouraging participants to push their boundaries and hone their voice to create memorable and authentic pieces. The workshop model will facilitate constructive responses from both peers and the instructor. Particular attention will be placed on the formal life of the poetry we read and write.
We will read a few selections of poetry weekly that demonstrate the application of different forms in poetry. By the end of the course, students will know how to recognize poetic forms “in the wild,” know the origins of the form’s creation, be able to write within the form, and know when and where it can be broken with significance. The readings will be brief but rich, with the intent of inviting multiple re-readings, close readings, note-taking and flexibility for everyone’s lives and work. Supplemental reading will be available for those hungry for more plums from the proverbial icebox. Prompts will be provided inspired by the week’s reading, but will be designed more as springboards for beginning rather than hard-and-fast regulations. Work will be submitted weekly for peer and instructor review. One piece will be chosen by the student for revision for the final class. Optional Zoom conferences will be held to discuss the reading for those interested. We welcome both new and experienced writers looking for motivation, structure, and constructive criticism.
A final optional Zoom meeting will be held as a reading of our work.
SYLLABUS
1: Introductions: What is form: The body of the poem?
We will open with an investigation of what “form” means and how its both employed (and oftentimes, entirely ignored) in poetry. This week will focus on prose poetry and what it means to start, first, with a seeming abandonment of all things conventionally poetic, but still embrace the title of “poem”
2: Haiku and Haibun
We will take a look at two linked forms and discuss the history of these forms, their background, and how they work in concert with one another. With a knowledge of poetic history, participants will approach their own work with a chance to make decisions of form and formlessness that will come weighted with intention.
3: Sonnet and Derivations
This module will invite an exploration of classic forms of the sonnet as well as more contemporary evolutions. From the Shakespearian strict structure to what James Gate Percival entitled “The American Sonnet,” readers and writers will take a tour of authorial intent and poetic migration.
4: Villanelle and Sestina
In this second to last week, we will dive into two forms that employ repetition. Learning about how the same line written twice can come to carry an entirely different meaning, we will focus n reading and writing for sonics, sensation, and transformation.
5: The Final Form
In this final module, we will unleash the writers to confine or free themselves: they will approach a written piece of their own and make careful edits with peer and instructor feedback in mind as well as the gained ability to tweak their pieces into forms wholly their own. This will be the week for revision, encouraging everyone to push their boundaries and consider how their final piece’s consciously engage or break from form to elevate and embody their language.
New Modules posted on Mondays, Pieces due by Friday, 11:59, Feedback from All Due by Sunday, 11:59
Cleaver Poetry Reviews Editor Claire Oleson is a Brooklyn-based writer hailing from Grand Rapids Michigan. She’s a grad of Kenyon College, where she studied English and Creative Writing. Her work has been published by the University of Kentucky’s graduate literary journal Limestone, Siblíní Art and Literature Journal, Newfound Journal, NEAT Magazine, Werkloos Magazine, and Bridge Eight Magazine, among others. She is also the 2019 winner of the Newfound Prose Prize and author of the chapbook Things From the Creek We Could Have Been.
The writer Sandra Scofield describes a “pulse”—that spark that makes the story come alive— as a vital element to all scenes. This pulse is especially crucial for opening scenes, as many agents and editors report that if they are not hooked on a manuscript within the first five pages, they will not read on.
But what is a “pulse,” and how can a writer ensure that each scene—not just the opening— has one? How can we write in such a way that our characters come to life, that a scene breathes emotion and urgency, while moving the plot forward and keeping tension taut?
In this class we’ll look at opening scenes, pivotal scenes and transitional scenes in published novels and memoirs, analyzing them for a “pulse”—that spark that makes the story come alive—and for the ways in which they hook the reader, introduce the characters, and (for opening scenes) signal the book’s scope. We’ll define the elements of a scene and discuss techniques for writing scenes that breathe emotion and urgency while moving the plot forward and keeping tension taut.
We’ll also workshop an opening scene from your novel or memoir in progress of no more than 1800 words in length, applying a checklist to help you determine whether your book’s opening passes the “pulse” test—and if not, strategies for creating a first scene the reader can’t put down. You will then revise these scenes, or submit a new opening scene for instructor feedback.
This class will have one synchronous meeting: an introductory Zoom meeting on Sunday, January 3 from 2 – 3:30 pm EST. Writers will receive a schedule for submitting scenes to be workshopped in Weeks 2 – 4 as part of the Week 1 lesson.
Readings will include scenes from works by Rishi Reddi, Hanya Yanagihara, Joan Didion, Elizabeth Strout and Piper Weiss, among others.
SYLLABUS
Week 1: Introduction
What is a scene?
Scene elements
Creating tension within a scene
Readings
Week 2: Types of Scenes – Part I
Opening Scenes
Pivotal Scenes
Readings
Four scenes workshopped
Week 3: Types of Scenes – Part II
Flashback Scenes
Transitional Scenes
Readings
Four scenes workshopped
Week 4: Scene vs. Exposition
Definitions
Debunking “show don’t tell”
Pacing
Readings
Four scenes workshopped
Week 5: Scene CPR
Checklist for revision
Revise workshopped scene or submit new scene to instructor
Lisa Borders’ second novel, The Fifty-First State, was published by Engine Books in 2013. Her first novel, Cloud Cuckoo Land, was chosen by Pat Conroy as the winner of River City Publishing’s Fred Bonnie Award, and received fiction honors in the 2003 Massachusetts Book Awards. Lisa’s short stories, essays and humor have appeared in The Rumpus, McSweeney’s, WBUR’s Cognoscenti, Post Road, Washington Square and other journals. She has received grants from the Massachusetts Cultural Council, the Somerville Arts Council and the Pennsylvania Council on the Arts, and fellowships at the Millay Colony, Virginia Center for the Creative Arts, Hedgebrook and the Blue Mountain Center. Lisa also teaches at Boston’s GrubStreet, where she founded the Novel Generator program and co-founded the Novel Incubator program. More information on Lisa is available at lisaborders.com.
EMBRACING UNCERTAINTY, Part 1 of Two A Workshop to Jumpstart Your Writing open to all levels and genres
Parts 1 and 2 may be repeated or taken out of order
taught by Cleaver Editor Tricia Park
Asynchronous Version
5 weeks
January 10 to February 7, 2021
$250
Class limit: 12
Questions: [email protected]
“But your solitude will be a support and a home for you, even in the midst of very unfamiliar circumstances, and from it you will find all your paths.”
― Rainer Maria Rilke, Letters to a Young Poet
In this class, we won’t try to fix what isn’t broken. We’ll hold our vulnerability and begin creating from where we are. We’ll give ourselves permission to commence, no matter how fragile the surface under our feet feels. Together, we will enter and engage with the work as it begins to speak to us, and we’ll allow ourselves to follow that uncertainty and see where it takes us.
THIS CLASS IS OPEN TO WRITERS OF ALL LEVELS AND GENRES. In this workshop, we will generate new writing through exercises and assignments; provide and receive feedback on writing you produce in our workshop.
This class offers weekly deadlines and assignments but you can work at your own pace and on your own time—there are no required meetings (although we may have an optional Zoom check in or two to provide additional support and inspiration.)
What you’ll get in this class:
Gently intriguing prompts to jump start your creativity
Reading and discussion of texts by inspiring writers.
A safe and supportive environment to cultivate your writing.
Small, clearly defined weekly assignments to keep you motivated.
New writing that you can continue to nurture and grow at home.
Each week, we’ll explore exercises/prompts that I hope will generate work that will surprise and delight you. We’ll also read and discuss texts that I’ll provide for you as examples to emulate and prompt new writing. Most importantly, I am looking forward to the community we’ll create together so that you may feel free to venture eagerly into your uncertainty and take new and playful risks in your writing.
There will be space to share your work and receive feedback on your writing. I’ll provide clear guidelines for constructive feedback on new and early drafts. The focus of this class is to develop your practice and generate new writing!
If possible, I encourage you to write long-hand for your generative work and then transcribe to the Canvas discussion board but a laptop or tablet is also fine.
Note: The Canvas platform works best with the Chrome and Firefox browsers. If you are experiencing technical difficulties in Safari, try accessing the class in a different browser. There is also a Canvas Student App available through Apple or Google Play.
CLASS OVERVIEW:
Week One: Freewriting and Playfulness
Elizabeth Gilbert writes, “I made a decision long ago that if I want creativity in my life – and I do – then I will have to make space for fear, too.” We’ll find ways to move through resistance as we approach our writing with playfulness and curiosity. We’ll dive into freewriting and whimsical exercises/prompts.
Week Two: Using our Senses
Maya Angelou reminds us that “once you appreciate…one of your senses, your sense of hearing, then you begin to respect the sense of seeing and touching and tasting, you learn to respect all the senses.” Sensory details infuse our writing with richness and dimension. We’ll respond to prompts that encourage us to take in our surroundings and connect with our senses.
Week Three: Walking Down Memory Lane
Lois Lowry says, “I’ve always been fascinated by memory and dreams because they are both completely our own. No one else has the same memories. No one has the same dreams.” We’ll delve into our unique memory banks to mine our past and present, generating writing that is bound to surprise us.
Week Four: Following our Obsessions
Ralph Waldo Emerson writes, “a man is what he thinks about all day long.” In this week’s class, we’ll discover ways to follow our obsessions and redirect our mind’s tendencies to fuel our writing.
Tricia Park is a concert violinist and writer. The recipient of an Avery Fisher Career Grant, she has appeared in concert on five continents. Tricia is the producer/host of a podcast called “Is it Recess Yet? Confessions of a Former Child Prodigy.” Tricia is a graduate of The Juilliard School and received an M.F.A. from the Writing Program at the School of the Art Institute of Chicago. Her writing has appeared in Cleaver Magazine, Alyss, and F Newsmagazine. She has also been a finalist for contests in C&R Press and The Rumpus. Currently, she is a Lecturer and Artist-in-Residence at the University of Chicago. Tricia has taught creative writing online and at the University of Iowa.
In this class, we won’t try to fix what isn’t broken. We’ll hold our vulnerability and begin creating from where we are. We’ll give ourselves permission to commence, no matter how fragile the surface under our feet feels. Together, we will enter and engage with the work as it begins to speak to us, and we’ll allow ourselves to follow that uncertainty and see where it takes us.
5 weeks
December 7, 2020- January 9, 2021
Class limit: 12
Questions: [email protected] SOLD OUT
Writer Dinty W. Moore says that creative nonfiction equals curiosity plus truth. CNF comes in a variety of forms: from expansive memoir to intimate personal essay to the lightbulb “eureka!” of flash. But in any form, the CNF writer is a guiding voice in the dark: a storyteller seeking truth, thinking alongside the reader toward a deeper understanding of ourselves and our world.
In this class, we’ll practice the essay in its most dynamic form: a verb that means “to test; to practice; to taste; to try to do, accomplish, or make (anything difficult).” Each week, we will read and discuss one or more example essays and generate new work from prompts. Students will share their work for peer and instructor feedback.
This workshop has weekly readings and writing assignments to inspire you—and deadlines to motivate you—but the work can be done at your own pace and on your own time. There are no required meetings, although we’ll hold optional Zoom write-ins and discussions for those who are interested. We welcome both new and experienced writers looking for motivation, structure, and enthusiastic feedback on their work.
Sydney Tammarine’s work has appeared in Ploughshares, LIT, Pithead Chapel, The Missing Slate, and other journals. She is the co-translator of a book of poems, The Most Beautiful Cemetery in Chile. She holds an MFA in Creative Writing from Hollins University and teaches writing at Virginia Military Institute. She has led workshops at The Ohio State University, Hollins University, Otterbein University, and at high schools, including as Writer-in-Residence at Appomattox Regional Governor’s School. She serves as flash and creative nonfiction editor for Cleaver.
SYLLABUS
Topic One: Writing the Tough Stuff
In our first week together, we’ll explore: Why does the most powerful writing often come from loss, grief, or trauma? What value do the “tough stories” of our lives have to others? Why is nonfiction uniquely posed to connect us to others, and what value do the “tough stories” of our lives have to them? We’ll also practice strategies for writing our toughest material in an environment that’s safe and encouraging.
Topic Two: Finding Your Truth
Novelist Tim O’Brien often talks about the role of truth in his fiction: “I want you to feel what I felt. I want you to know why a story-truth is truer sometimes than happening-truth.” In CNF, we have an obligation to truth that is greater than just getting the facts right. How do we write the story-truth, the happening-truth, as best we know it? Can any piece of writing be objectively true? We’ll talk about strategies for writing in the face of these questions, and also for finding what we think we can’t remember.
Topic Three: Hell is (Writing About) Other People
Writer Anne Lamott said, “You own everything that happened to you. Tell your stories. If people wanted you to write warmly about them, they should have behaved better.” But that doesn’t always feel so easy, does it? This week, we’ll practice making characters in nonfiction—including yourself—feel real on the page, and discuss the ethics of writing about other people.
Topic Four: Finding Poetry in Prose
The Seneca Review describes the lyric essay as “[l]oyal to that original sense of essay as a test or a quest, an attempt at making sense,” but with prose that “might move by association, leaping from one path of thought to another by way of imagery or connotation, advancing by juxtaposition or sidewinding poetic logic.” This week, we’ll try out such poetic logic, experimenting with moves that can bring the music of poetry to our prose.
Cleaver Poetry Reviews Editor 
Sydney Tammarine’s work has appeared in Ploughshares, LIT, Pithead Chapel, The Missing Slate, and other journals. She is the co-translator of a book of poems, The Most Beautiful Cemetery in Chile. She holds an MFA in Creative Writing from Hollins University and teaches writing at Virginia Military Institute. She has led workshops at The Ohio State University, Hollins University, Otterbein University, and at high schools, including as Writer-in-Residence at Appomattox Regional Governor’s School. She serves as flash and creative nonfiction editor for Cleaver.