Workshops - In Person
Instructor: K Hank Jost
Dates: June 27-Aug 22 (No Class, July 4 th )
Saturdays 10:30am-1pm
Capacity: 15 Students
…it came simply from the words themselves, the ringing sound of the phrase…
Deep study of a single author’s work is one of the best ways to focus and improve one’s craft—and William Faulkner’s oeuvre is among the richest in the English language. Join us for a generative author study, where we will unpack the singular genius of Faulkner’s approach, attitude, and method, submerging ourselves in the technical virtuosity of America’s greatest novelist.
In this eight-week workshop, students will revitalize their sense of the possibilities of fiction through deep reading Faulkner’s four greatest achievements—As I Lay Dying, The Sound and The Fury, Absalom! Absalom!, and The Hamlet—, analyzing their techniques and generating new ideas about compositional methods via group discussion. Supplemented by interviews, speeches, and lectures given by the author, students will extract for themselves a timeless, personal, and forever useful methodology.
Over the course of the eight weeks, students will generate four pieces of short fiction and have the opportunity to present their work to the class for feedback…
Instructor: Daniel Kuriakose
Tentative Dates: June 13-Aug 22 (No Class, July 4 th )
Saturdays, 1:30pm-4pm
Capacity: 15
Thinking of poems in relation to one another can open new resonances in a collection. How do
good poets manage this? How can a poetic work be changed when placed in proximity to another? How does a collection build momentum, energy, significance, over the course of several pages and several poems? What kind of rhythms develop on this scale, and how do we manage them? Let’s Figure this out together.
The goal of this 10-week workshop is to produce a chapbook of poems (about 15-25 pages in length). Over the course of the first few weeks, students will engage with book-length poetic texts, and receive attentive, rigorous workshopping of their individual poems. The second half of the course will consist of freer study, with students exploring their own curiosities under the guidance of the instructor, collating their work into chapbooks as the class opens up into a full manuscript workshop.
Workshops - Online
Instructor: K Hank Jost
Dates: June 16-Aug 4, Tuesdays, 6pm-8:30pm
Online
Capacity: 15 students
What is it to write a piece of fiction? Beyond the basics of character and event, plot and style, what sorts of considerations ought an author to be making? How can re-investigating the considerations of our craft liberate us to create more truly?
Time, Attention, and Meaning is an online fiction workshop aimed at guiding writers of all levels through a thorough reassessment of their relationship to the object of the text and the depth of the reader. Using the three titular concepts as vectors of interrogation, participating will writers develop an approach to fiction that considers the text, narrative, characters, symbols, and language not strictly in terms of discursive or communitive modes, but as aspects of an object worthy of witness.
Classes will consist of discussion and lecture portions, along with weekly critique sessions. Students will generate three pieces of fiction and will have up to two opportunities to present work to the class.
Instructor: Daniel Kuriakose
Dates: June 16-Aug 4, Tuesdays, 6pm-8:30pm
Online
Capacity: 15
Icicles filled the long window
With barbaric glass.
—Wallace Stevens
Rather than directly likening icicles and glass (“Icicles, like barbaric glass / filled the long window”) Stevens chooses to delay the deployment of his metaphor until the moment of the line break.
So, how does lineation modulate pacing? How does it open the channels to unspoken meanings and polyvalences? What can excellent poets’ approaches to the line teach us about timing, craft, and meaning in poetry?
In this 8-week generative workshop course, we’ll read various 20th and 21st century poets in pursuit of a focus on the line.
Students will have the opportunity to share their work every week, and to be closely, attentively read by their peers. We will offer suggestions to each other and imagine bold directions for revision. By the end of this course, students will turn in a flight of revised poems, about 7-10 pages in length.
Student Testimonials
-
Jost teaches in a tradition that assumes students take their work seriously. He doesn’t over-explain or lower expectations. In both his classes and our one-on-one meetings, he asked direct questions and expected me to think carefully about my answers. That approach pushed me to trust my own thinking and take responsibility for my writing, from early ideas down to the sentence level. He doesn’t teach a formula or prescribe a style. Instead, he assumes you’re already a writer and meets each student’s voice with targeted feedback and thoughtful recommendations. I recommend this class without reservation.
—Sara D.
-
Studying with Hank has been extraordinary. I joined his class as a complete novice and fell in love with the act of crafting fiction. Through his instruction, I've developed a sustainable writing practice, learning to investigate the fundamental question I’m asking when I tell a story. I’ve learned how to allow language to reveal itself; that a noun is a verb is an adjective, and that the dance is infinite. And perhaps most importantly, under his tutelage, I’ve developed an unshakable reading discipline. Regardless of skill level, surely there’s tons to discover and explore under his mentorship or in his workshops.
—Spencer G.
-
Past writing classes had left me with the impression that writing couldn't be taught, that it was the pastime of geniuses alone. Maybe some of that is also attributable to English curriculums heavy on specific writers with bankable styles. But Hank encourages students to read broadly and with an open mind. Then, after kiboshing the idea that good writing needs to sound a certain way, he teaches you to zero in on techniques the authors are using and to what effect, helping you to abstract from that something you can apply immediately in your own writing. His feedback on first drafts is honest and helpful. He doesn't coddle but he's never mean. Taking a class with him makes you excited to write. Do it.
—Mohammad R.
-
K Hank Jost is one of the most challenging yet engaging writing teachers I’ve had. He translates his love for the art of prose and all of its intricacies to his students. Hank encourages them to explore what they love most in their own writing and pushes them to dig deeper into the craft of language. Studying with him, I’ve noticed not only how my love for writing fiction has grown, but also how my abilities to be creative, be inspired, and form unique ideas have strengthened both on the page and in my life.
—Keaton R.
-
I took a group workshop with Hank Jost and also worked with him one-on-one, and in both settings I found that Hank had enormous talent as a teacher, on top of his talent as a writer and prolific reader. He is profoundly down-to-earth, and he brought the same support and enthusiasm to students from about as wide a range of different writerly backgrounds as one could imagine, whether they had been writing for years or had just started, and whether they were writing genre fiction, YA, pulp, or literary fiction. He has enormous energy and constantly went above and beyond with feedback, even after the class was formally over, and he was funny and inspiring during class. He was also terrific at proctoring discussions and building community among his students: many of us are in regular contact even now, long after we took his class. Under Hank's tutelage I went from a 4 full decade in which I no longer really worked on my fiction to, in the past year, finishing many stories and submitting several for publication, of which one was recently accepted.
—David D.