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Image 1 of 1
Image 1 of 1
Image 1 of 1
Dates: November 3-30
Format: Asynchronous (learn more)
While all people may be, as Studs Terkel once said, “hungry for stories,” a poet doesn’t need to follow a traditional plot diagram to cook up a poem tender with delicious narrative flavors. There are many ways poets can borrow selectively from storytelling strategies to help even the most lyric of their poems shine and thrive.
In this generative workshop, we’ll look at key elements of strong storytelling and discuss how to harness their energies and draw them into our poems. Reading work by Brigit Pegeen Kelly, Ross Gay, Arthur Sze, Marie Howe and others, we’ll examine ways poems can vividly engage elements of narrative structure, characterization, and voice. We’ll also consider how poetic retellings of memory, folk and fairy tales may resist cultural assumptions of what and who matters, and how poetic language itself–diction, syntax, image–can refresh our readers’ usual once-upon-a-times.
Poets will leave the course with four new drafts, for which they’ve received thorough, supportive critiques. Workshop, craft discussions, and optional bonus readings will provide new ways to apply narrative gestures in verse.
Dates: November 3-30
Format: Asynchronous (learn more)
While all people may be, as Studs Terkel once said, “hungry for stories,” a poet doesn’t need to follow a traditional plot diagram to cook up a poem tender with delicious narrative flavors. There are many ways poets can borrow selectively from storytelling strategies to help even the most lyric of their poems shine and thrive.
In this generative workshop, we’ll look at key elements of strong storytelling and discuss how to harness their energies and draw them into our poems. Reading work by Brigit Pegeen Kelly, Ross Gay, Arthur Sze, Marie Howe and others, we’ll examine ways poems can vividly engage elements of narrative structure, characterization, and voice. We’ll also consider how poetic retellings of memory, folk and fairy tales may resist cultural assumptions of what and who matters, and how poetic language itself–diction, syntax, image–can refresh our readers’ usual once-upon-a-times.
Poets will leave the course with four new drafts, for which they’ve received thorough, supportive critiques. Workshop, craft discussions, and optional bonus readings will provide new ways to apply narrative gestures in verse.
