The Hume Center, the Stanford Storytelling Project, and the Creative Writing Program are proud to offer this free workshop series open to all students from all majors. Come for intensive, fun, hands-on workshops with dynamic facilitators from the Program in Writing and Rhetoric (PWR), the Creative Writing program, and the Stanford Storytelling Project. You'll leave with an expanded understanding of what your writing can do.
Winter 2020 Schedule
All workshops are free, open to the entire Stanford community, and held in the Hume Center for Writing and Speaking in Building 250, Room 201, from 6:00-7:30pm, unless otherwise specified. Snacks are provided!
Week 2, Mon 1/13— "Writing Wild with the Senses" with Emily Polk and Richard Nevle
In this workshop, we’ll use visceral engagement with the senses as a way of opening doors to writing that will make elements of your story more accessible as well as offer new avenues of inspiration. We’ll use various images, unexpected smells, and diverse sounds from the wild along with several guided writing prompts to conjure forgotten stories and to inspire you to imagine new ones. Please come with a sense of adventure, ready to do some wild writing together.
Emily Polk, an Advanced Lecturer in PWR and the author of Communicating Global to Local Resiliency, has worked around the world as a media professional, supporting documentaries and human rights-based media in refugee camps from Burma to Ghana. Her work has appeared in National Geographic Traveler, Creative Nonfiction, The National Radio Project and elsewhere.
Richard Nevle is the Deputy Director of the Earth Systems Program, a scientist, teacher, dad, and writer in love with the natural world. He muses at The Feral Naturalist and is working on a book of essays and prose poems focused on the natural history of the Sierra Nevada.
Week 4, Mon 1/27 — "Funny Business" with Ed Porter
In this workshop, we’ll examine some of the time-honored principles of how writing is made funny, and then you’ll respond to short prompts designed to get your personal sense of humor out in the open, where it can run free and play with others.
Edward Porter’s humor writing has appeared in places such as Barrelhouse, Booth, and Miracle Monocle, and has been anthologized in Winesburg Indiana and My Name Was Never Frankenstein. A former Stegner Fellow, he is currently a Jones Lecturer in creative writing at Stanford University.
Week 5, Mon 2/3 —"Monster! Mother! Sweater! Strider! Choosing a Strong Perspective for your Story" with Rachel Hamburg
Sometimes we think of stories as existing beyond the teller. Ancient myths, for example, survived through the mouths of anonymous speakers. Traditional journalism in its own way, too, often invokes an objective perspective - a bodiless questioner who hovers above the subject matter. But every Beowulf begs for a Grendel - a radical re-imagination of problem, protagonist, and perspective. In this workshop, we will hear from a little girl, an old sweater, a lusty insect, and more. We will discuss how those perspectives are achieved through writing, voice, and audio technique, as well as what they offer their stories that a more obvious perspective could not. Then we will spend time developing radically different views into the same story, before broadening the exercise to an examination of the stories we are waiting to tell and what carefully choosing the story's perspective can do.
Rachel Hamburg is a senior producer at Audible, where she has produced a storytelling show with Dan Savage about sex and relationships, a sound collage of American cities using stand up comedy and interviews on the street, an audiobook about the women who took down Larry Nassar, a short story collection written from the perspectives of animals, a science series, and a one-man play slash sales workshop. Before Audible, she worked at The Stanford Storytelling Project, where she helped undergraduates hone their storytelling skills.
Week 6, Mon 2/10 — "If You'll Let a Guide Direct You: Poems That Command" with Austin Smith
All poems address the reader either directly or obliquely, but certain poems address the reader in a more specific way, guiding us, goading us, commanding us. These poems can be both comforting and challenging. In perhaps the most famous poem of this kind, "Directive," Robert Frost assures us that we need only let the poet-guide direct us, before admitting that this poet-guide "has at heart [our] getting lost." In this workshop, we will consider poems by Frost, William Matthews, Rainer Maria Rilke, and others. In doing so, we will discuss how to approach poems that command. What is the proper way to read such a poem? And how can mere words on the page inspire us to make actual changes in our lives? In the second half of the workshop, we will draft "directive" poems of our own.
Austin Smith is the author of two poetry collections, Almanac and Flyover Country. A former Wallace Stegner Fellow in fiction, he is a Jones Lecturer at Stanford University, where he teaches courses in poetry, fiction, environmental literature and documentary journalism.
Week 8, Mon 2/24 — "Places that Make Us: Harnessing the Power of the Setting" with Rose Whitmore
From Tbilisi to Tulsa to last year’s road trip, place can be a powerful tool in writing. We all remember Gatsby’s green light, can feel the cinders of Dresden, and yes, even picture the halls of Hogwarts. In fiction and non-fiction, place has the power to sculpt identity on the page and create lasting and memorable images. It can be the nexus from which narrative tension springs—political, personal, or otherwise—and action initiates. In this class, we’ll examine how place in fiction and non-fiction can carry important metaphor, elevate meaning, and augment our character’s experience. We'll dive into settings rich with emotional detail and engage in writing prompts that will help you unearth the heart of where your story takes place. Students can expect to leave with the setting of a short story or personal essay and plenty of ideas of where to go from there.
Rose Whitmore’s writing has appeared in the Alaska Quarterly Review, Mid-American Review, The Missouri Review, The Sun, The Iowa Review, The Colorado Review, Fourth Genre and shortlisted in Best American Essays, 2017. A former Wallace Stegner fellow, she is currently a Jones Lecturer at work on a novel about Olympic Weightlifting during Enver Hoxa's communist regime in post-World War II Albania.
Week 9, Mon 3/2 — "Playing with Time" with Valerie Kinsey
How can we bend, control, and play with time to increase the power of the stories we want to tell? In this workshop, we will experiment with manipulating time to create more impactful moments, scenes, and plots. We’ll start by looking at writers who manage time in their work in effective and innovative ways. We’ll also consider ways music and image can help us think analogously about time. Most of our workshop will then be devoted to our own experiments with time in story. Whether your goal is to build suspense, create patterns, or capture a single ground-shifting moment, this workshop will give you new options to explore.
Valerie Kinsey is a Lecturer in Stanford’s Program in Writing and Rhetoric. Her fiction has appeared in Angel City Review, Adelaide, Arcturus and elsewhere; she also writes personal essays, which have been published in Evening Street Press and Streetlight Magazine. She earned her MFA (creative writing) and PhD (English) at the University of New Mexico.