creative writing - the loft literary center

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tor As the holidays approach, most people start thinking of elaborate

meals or gifts, but we writers think of stories. If you’ve participated in as many Loft classes as I have (in my case, often incognito)

you realize that a vast majority of the stories we tell can be traced back to the holidays. Your muse germinated while your family gathered, and those simmering stories, along with the emotions they created, have to be set free.

The great Minnesota writer Carol Bly said that everyone needs to write a 30 page memoir and put it in a drawer before they can start serious writ-ing. Okay, someone told me that she said that and whether or not that is a true story (or one of the Loft legends that float around this place), I love the advice. Write it, shelve it, and start over. Free yourself from judgment and don’t think about who will eventually see your work.

I’ve heard it many times: Too many writers become paralyzed by what their family members, colleagues, or neighbors might think about what they are writing. How will you face them at the holiday parties if you’ve recently revealed your soul in a poem or the office dynamics in a script?

“Forget your generalized audience. In the first place, the nameless, faceless audience will scare you to death and in the second place, unlike the theater, it doesn’t exist. In writing, your audience is one single reader. I have found that sometimes it helps to pick out one person—a real person you know, or an imagined person and write to that one.”

—John Steinbeck from a 1975 interview, The Paris Review

( Thanks to Maria Popova’s Brain Pickings website for reminding me of this tip.)

Most Loft students hope to get published (we hear success stories daily) but don’t let that prospect become paralyzing. Pick your audience of one and wow him.

Fighting for your writes,

Jocelyn Hale, Executive Director

What’s next?

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table of Contents

eduCatIon ProfIle ..........................................4onlIne Classes .....................................................7adult In-Person Classes ..................... 10

youth In-Person Classes .................... 18

mark your Calendars .............................20

wrIters’ bloCk ....................................................22

ask esther .................................................................24

RegistRation: Register in person, by phone, fax, mail, or online at www.loft.org. Save on tuition by becoming a Loft member!

Class levels:Beginning | Intermediate | Advanced | Open to All Levels

Don’t know which level class is right for you? Call the Loft’s education staff (612-379-8999)—we are here to help!

PRiCing:Reg = Regular price, Mem = Member price, Low = Low income (single total annual income of $25,000 or less or household of two or more with a total annual income of $45,000 or less)

suite 200, open book 1011 washington avenue south minneapolis, mn 55415

loft website | www.loft.org

loft offices | 612-215-2575 (t–f) loft fax | 612-215-2576 loft education line | 612-379-8999

The Loft advances the artistic development of writers, fosters a thriving literary community, and inspires a passion for literature.

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Earlier this year, the Loft launched a collaboration between Chaun Webster, local multimedia, multidisciplinary artist, and Jackson Street Village in Saint Paul. Through this project, young writers of

color worked closely with Webster on the craft of spoken word poetry and imaginative self-expression, while building self-confidence.Jackson Street Village’s mission is “to offer an affordable, sober, and supportive housing community to families transitioning out of homeless-ness into stable, healthy, productive lives.” In support of this mission, Jackson Street reached out to the Loft’s Program Director, Bao Phi, who

A Look atthe Loft’s

Teaching Artistin Residency

Program:

ChaunWebsteR

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facilitates community collaboration projects as well as the Equilibrium: Spoken Word at the Loft series, about launching a writing residency. Phi immediately thought of Webster, and informed him of the creative writing program and the multicultural space at Jackson Street Village. Webster, known throughout the Twin Cities for his writing, graphic design, and social activism was intrigued by the creative writing project, and excited to create a curriculum for the youth because, “It’s not a traditional classroom: There are all sorts of aspects. That’s really what prompted me because I love working with young people and poetry.” Webster’s artistic work is inspired by the Black Arts Movement, Graffiti, and Concrete Poetry. He is also influenced by Minnesota artists such as Bao Phi and Carolyn Holbrook, by history, as well as by stories his mother told him. In 2009, Webster launched his publishing company, Free Poet’s Press. He has written and published six books, with his most recent book titled, Because When We Say NAT It Be Writ Large. His passion for educating young people is influenced by his own personal experiences, and Webster’s classroom philosophy and teach-ing pedagogy incorporate his belief in collaboration. He redesigned his curriculum to teach the young people “where [they] are at, seeing what interested them—knowing the heritage and background that the students are coming from” so that the youth in his classes feel sup-ported. He wanted them to feel “comfortable with creative imagination … that [their] ideas matter.… That they could take something and create something, and feel free enough to make mistakes.”Together, Webster and his students have created two gorgeous poetry chapbooks; they also shared the stage at Open Book last June reading original poems. When asked about his time at Jackson Street Village, and what it’s taught him as a teaching artist, Webster says, “I could talk about dominant strategies seen in the school systems, and read about critical pedagogy by Paulo Freire all day long, but trying to work that out in a classroom space is different. So you know, what have actu-ally changed are the theories and ideas that I hold about a classroom space, and how to materialize it on the ground.” Webster has learned to be prepared to tackle all the hurdles that accompany being a teaching artist: “It’s always easy to come in and think you’re going to do some crazy, magnificent thing…. It’s different. It is real hard work, it’s gritty. You have to be consistent.”

daisy lor is a Youth Studies major at the University of Minnesota.

Interested in bringing a creative writing opportunity to your school or community center? Contact the Loft’s Education Outreach Manager, Kathryn Savage: [email protected].

A Look atthe Loft’s

Teaching Artistin Residency

Program:

ChaunWebsteR

Pricing Reg = Regular; Mem = Loft Member; Low = Low-Income (see page 3 for details)

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Nov/DEccLaSSLISTINgSClasses starting in september and october are listed at loft.org

November and December 2013 classes are listed here. MoRe Classes are listed at loft.org.

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online claSSeSLoft online classes allow you to join a vibrant community of writers under the guidance of an experienced teaching artist no matter what your location or schedule may be. Contact the education department at 612-379-8999 or visit loft.org and watch videos detailing the Loft online classroom experience.

Basics

bent FoRMs: exPloRing and exPloding FoRMal PoetRy PAuLA CISEWSkIOpen to All Levels | 11/4–12/15 | 6 Weeks Reg $198.00 Mem $178.20 | Scholarship Available

In this class we’ll experiment with a sonnet, a villanelle, and a sestina to see how the attention to structure can improve our sense of craft. We’ll also see how we can push these forms beyond their usual bounda-ries and claim them as our own.

devils in White Cities and Rising tides: the aRt oF naRRative nonFiCtion | ASHLEY SHELBYIntermediate | 11/4–12/22 | 6 Weeks Reg $198.00 Mem $178.20 | Scholarship Available | No class the week of Thanksgiving

Learn strategies for elevating your work of journalism or history and keeping your reader engaged from start to finish, including narrative structure, integration of research and interviews, and character development. Participants should have at least started a nonfiction book-length project.

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Revision boot CaMP | JEnnIFER kOHAnOpen to All Levels | 11/4–12/15 | 6 Weeks Reg $198 Mem $178.20

So you’ve completed your manuscript, but are you really finished? This class will help you explore weekly revision focus topics and strategies. You can submit up to three pages of text each week for individualized teaching artist feedback.

Are you interested in bringing Loft programming to your

school, library, homeschool program, or anything else?

We can do that! the loft can customize youth and teen classes in fiction, poetry, and creative nonfiction that fit the needs of your school, class, or group. loft teaching artists are a creative, fun, and experienced group of working writers who can work with youth to craft a scintillating story, expand their imagination, write a killer college essay, or just learn about careers in writing.

Custom creative writing programs can also be created for in-school residencies and after school enrichment programs. Call kathryn savage at 612-215-2590 to get started!

November and December 2013 classes are listed here. MoRe Classes are listed at loft.org.

members make the loft possible.

as a nonprofit, we rely on the generous contributions of our members to keep the

Loft community a thriving home for creativity and curiosity. a contribution of any amount makes you a member and is

100% tax-deductible.

this is your Loft community. Keep it going strong with a contribution today.

loft.org/support


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in-perSon claSSeSCan’t attend in person? See online class listings on page 7.

Children’s and Young Adult Literature

you Can WRite a PiCtuRe book! | MOLLY BETH GRIFFInBeginning | Saturday | 11/2 | 9 a.m.–noon | 1 Session Reg $49.50 Mem $44.55 Low $34.65 | Scholarship Available | $2 copy fee payable to the teaching artist.

In this fast-paced introduction, you’ll buckle down and learn the nuts & bolts of the picture book form, and you’ll practice reading great picture books as a writer.

new class! PiCtuRe book duMMies: Why, Why not, and hoW? GEORGIA GREELEYOpen to All Levels | Saturday | 12/14 | 9 a.m.–5 p.m. | 1 Session Reg $132.00 Mem $118.80 Low $92.40 | Scholarship Available | Each participant is asked to bring a picture book manuscript to class with which to work. | $1 copy fee payable to the teaching artist.

In this class, you will gain hands-on experience with making a simple picture book dummy that can help you revise, pace, and take creative risks to enrich your manuscript.

November and December 2013 classes are listed here. More classes are listed at loft.org.

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Creative Nonfiction

WRiting and selling the Magazine FeatuRe | GREG BREInInGOpen to All Levels | Saturdays | 12/7 & 12/14 | 9 a.m.–1 p.m. | 2 Sessions Reg $132.00 Mem $118.80 Low $92.40 | Small copy fee payable to the teaching artist.

Explore the magazine feature from the beginning: how to get ideas, research markets, write queries and pitch ideas to an editor, and craft a magazine article from beginning to effective ending.

new class! PeRhaPsing: the sPaCe betWeen What you knoW and What you iMagine | LAuRA FLYnnOpen to All Levels | Saturday | 11/2 | 9 a.m.–1 p.m. | 1 Session Reg $66.00 Mem $59.40 Low $46.20 | Scholarship Available | $2 copy fee payable to the teaching artist.

“Perhapsing” is a speculative space that allows you to suggest how things might have been, how other people might have experienced events, without claiming what you write as factual truth. We will read examples from contemporary writers, discuss the ethics of melding fact and speculation, and then practice moving between the skeleton of what we know and the vast body of what we can imagine.

new class! WoMen oF ColoR: WRiting ouR stoRies LORI YOunG-WILLIAMSOpen to All Levels | Saturday | 11/16 | 1–5 p.m. | 1 Session Reg $66.00 Mem $59.40 Low $46.20 | Scholarship Available

Women travel through stories; we cross and uncross physical and spiritual boundaries. We will use creative writing, music, letters, photos and collage to access family stories.


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Fiction

FiCtion basiCs: setting | BRIAn MALLOYBeginning | Saturday | 11/2 | 10 a.m.–noon | 1 Session Reg $33.00 Mem $29.70 Low $23.10

The well-rendered setting can create harmony or conflict, character-ize, symbolize, play to or against readers’ expectations, and make the familiar unfamiliar or the unfamiliar familiar. We’ll review strategies for creating and presenting settings (significant and characterizing details, figurative language) and practice these strategies with writing exercises.

FiCtion basiCs: sCene, suMMaRy & naRRative tiMe BRIAn MALLOYBeginning | Saturday | 12/7 | 10:00 a.m.–noon | 1 Session Reg $33.00 Mem $29.70 Low $23.10

Through exercises and brief readings, we’ll experiment with methods to weave together scene and summary, integrate flashbacks, and move through time.

Multigenre

new class! CReative Ways to CoMedy | COLIn MCPHILLAMYOpen to All Levels | Saturday | 11/16 | 9 a.m.–1 p.m. | 1 Session Reg $66.00 Mem $59.40 Low $46.20 | Scholarship Available

This class looks at comic perception and ways to access it. We consider genre and content, timing, and rhythm. Come with paper and pen, be prepared to laugh, cry, and brainstorm, as we examine the age old ques-tion: are tragedy and comedy really related?

hoW to Plan, WRite, and develoP a book | MARY CARROLL MOOREOpen to All Levels | Friday & Saturday | 12/6 & 12/7 | 10:30 a.m.–4:30 p.m. | 2 Sessions Reg $198.00 Mem $178.20 Low $138.60

Spend two intensive days getting to know your book—what it is about, how to structure it, how to plan to finish it! Designed for nonfiction authors who have a book concept or a work in progress, and for novelists who need a fresh look at their material.


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WRiteR’s Wheel oF ten | MARY CARROLL MOOREOpen to All Levels | Sunday | 12/8 | 10:30 a.m.–4:30 p.m. | 1 Session Reg $93.00 Mem $83.70 Low $65.10

Spend a lively afternoon exploring the ins and outs of ten essential writing tools. Even one, well used, will bring new vibrancy to a not-quite-there-yet memoir, short story, or novel.

new class! gReat gRaMMaR: knoW it. use it. love it. AMY SIMSO DEAnOpen to All Levels | Saturday | 12/7 | 9 a.m.–noon | 1 Session Reg $49.50 Mem $44.55 Low $34.65 | Scholarship Available | $1 copy fee payable to the teaching artist.

Grammar is the conductor that helps your sentences sing. In this class we’ll be learning how to spot and banish common mistakes that distract readers.

New Media

WRiting FoR the Web AMY SIMSO DEAnOpen to All Levels | Saturday | 11/16 9 a.m.–noon | 1 Session Reg $49.50 Mem $44.55 Low $34.65 Scholarship Available | $1 copy fee payable to the teaching artist.

In this class, we’ll discuss how online is different from print writing; writing techniques for online media; how to increase the chances your words will be found; how to create content that is more likely to be read; and dos and don’ts.


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Poetry

PoetRy: dReaM, deePen, deFine | LInDA BACk MCkAYOpen to All Levels | Saturdays | 11/2 & 11/9 | 1 p.m.–5 p.m. | 2 Sessions Reg $132.00 Mem $118.80 Low $92.40 | Scholarship Available | Small copy fee payable to the teaching artist.

This class is designed to bring your poetry writing to the next level, whether you are relatively new to poetry or have been writing for years.

the veRy shoRt PoeM | CInDRA HALMOpen to All Levels | Saturday | 11/16 | 1–5 p.m. | 1 Session Reg $66.00 Mem $59.40 Low $46.20 | $1 copy fee payable to the teaching artist.

Poems of eight lines or fewer are often described as concise, distilled, imagistic. We’ll read many examples of short poems and try out our own tankas, haiku, koans, light vese, proverbs, cinquains, and snapshots.

Publishing and Career

a WRiteR’s guide to Rights and CoPyRight | SCOTT EDELSTEInOpen to All Levels | Saturday | 11/16 | 9 a.m.–noon | 1 Session Reg $49.50 Mem $44.55 Low $34.65 | Scholarship Available

This class answers dozens of writers’ common questions about rights and copyright. Learn all the essentials—and get answers to all your questions—in just three hours.

What eveRy WRiteR needs to knoW about selF-Publishing SCOTT EDELSTEInOpen to All Levels | Saturday | 11/16 | 1–5 p.m. | 1 Session Reg $66.00 Mem $59.40 Low $46.20 | Scholarship Available

This class looks at the pros, cons, ins, and outs of self-publishing, includ-ing marketing, design, costs, media (print book vs. e-book vs. app vs. some combination), and printing (traditional runs vs. print on demand).

In the past year, the loft has given away several slots to classes and conferences through facebook and twitter.

Don’t miss out! follow us @loftliterary or like us on facebook.


The Loft’s Community Posting Boardthe Loft’s community posting board is a

new online resource where you can share

and find calls for submissions, contests

& grants, book clubs, writing groups, and

services for writers. You can also share

your success stories in the writing world.

loft.org/resources/community_postings

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CoPyWRiting 102 | AMY SIMSO DEAnIntermediate | Saturday | 11/2 | 9 a.m.–noon | 1 Session Reg $49.50 Mem $44.55 Low $34.65 | Scholarship Available | $1.50 copy fee payable to the teaching artist.

In this class, attendees will try their hands at writing a variety of print marketing and advertising pieces. Prerequisite: Copywriting 101: Tips & Techniques preferred but not required.

indexing: CReating baCkMatteR FoR youR book | HOLLY DAYOpen to All Levels | Saturday | 11/16 | 9 a.m.–noon | 1 Session Reg $49.50 Mem $44.55 Low $34.65 | Scholarship Available | $5 copy fee payable to the teaching artist.

In this class, we’ll go through all the steps necessary to building indexes based on book text, from simple subject indexes to expanded multilevel indexes, indexes split between personal names and objects/subjects, and how to create inclusive headings and subheadings for entries.

getting youR WoRd out: Polishing and subMitting youR ManusCRiPts FoR PubliCation | HOLLY DAYOpen to All Levels | Saturday | 12/14 | 9 a.m.–noon | 1 Session Reg $49.50 Mem $44.55 Low $34.65 | Scholarship Available | $5 copy fee payable to the teaching artist.

In this class, we’ll discuss final edits, proper manuscript format, writing effective cover letters, and researching markets for both long and short poetry, fiction, and nonfiction manuscripts.


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new class! CRaFting the nonFiCtion book PRoPosal kATE HOPPEROpen to All Levels | Saturday | 12/14 | 9 a.m.–1 p.m. | 1 SessionReg $66.00 Mem $59.40 Low $46.20 | Scholarship Available | $3 copy fee payable to the teaching artist.

In this four-hour class, you’ll begin to craft a book proposal in a step-by-step process that will help you distill your book’s hook, understand the components of a strong proposal, and begin to create an “about the author” section and marketing plan.

editoR vs. agent—the battle Royale: ChaMPioning authoRs thRough PubliCation

DAWn FREDERICk & JAkE kLISIvITCHOpen to All Levels | Saturday | 12/7 | 1–5 p.m. | 1 Session Reg $66.00 Mem $59.40 Low $46.20 | Scholarship Available

In this class, an established editor and established agent will duke it out as they provide an insider’s perspective on the fascinating world of big publishing. During the final hour, students will present book proposals, and Dawn and Jake will go through as many as possible to explain how they would shuttle each idea through publication.

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ThIs Is A ChAIR.

It and others like it support the keesters of over 4,000 aspiring writers at the loft every year.

members make it possible to keep the loft a special home for curiosity and creativity.

ThIs Is YOUR LOFT COMMUNITY.YoUR MEMBER SUPPoRT MaKES IT PoSSIBLE.

JOIN TODAY! | loft.org/support


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YoutH in-perSonAges 6–8

use youR iMagination | nAnCY CARLSOnSaturday | 11/16 | 9 a.m.–noon | 1 Session | Reg $49.50 Mem $44.55 Low $34.65

This is a class for kids who love to draw and write! We’ll create characters, get to know them, put them in original stories, and use artwork and the written word to bring them to life!

stoRies about Pets: a loFt/MCba CoMbo Class | HOLLY DAYSaturday | 12/7 | 9 a.m.–noon | 1 Session | Reg $52.50 Mem $47.25 Low $36.75

In this class for early writers, we’ll read stories about companion ani-mals as a group, then work on writing and sharing stories about our own pets, both real and imaginary. Once our pet or animal stories have been written, we’ll venture downstairs to Minnesota Center for Book Arts, where students will work with a book artist to construct their very own hand-made book—the perfect place to fill with stories of their pets!

Ages 9–11

a sMaRt kid’s guide to WRiting stoRies | kATE ST. vInCEnT vOGLSaturday | 11/2 | 9 a.m.–noon | 1 Session | Reg $49.50 Mem $44.55 Low $34.65

This class will show you different ways to come up with story ideas and write them down. You’ll walk away with the tricks of the trade for writ-ing the kind of stories your friends—and others—can’t wait to read.


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Ages 12–14

Making CoMiCs: a loFt/MCba CoMbo Class | TOM SPEnCESaturday | 12/14 | 9 a.m.–3 p.m. | 1 Session | Reg $105.00 Mem $94.50 Low $73.50

Learn the building blocks of comics: from idea to bookmaking. Starting with making their own characters, students will then learn how to put the characters into a story, followed by lessons on how to use panels and text to support their story.

Ages 13–17

get Published Fast! | SCOTT EDELSTEInSaturday | 11/2 | 1–4 p.m. | 1 Session | Reg $49.50 Mem $44.55 Low $34.65

This high-energy, highly practical class for teens will show you how to avoid mistakes by following a focused ten-step process for researching markets, targeting the ideal publications, standing out from the pack, and creating and following a successful marketing plan for your work.

Ages 15–17

new class! this is haRd to talk about: WRiting diFFiCult subjeCts | CARRIE MESROBIAnSaturday | 12/14 | 12:30–4:30 p.m. | 1 Session | Reg $66.00 Mem $59.40 Low $46.20

In this class, we’ll read excerpts from recent books that deal with difficult subjects and then talk about how we can explore such topics in our own writing, in a way that’s realistic, provocative, and complex.

novel WRiting WoRkshoP | CARRIE MESROBIAnSaturday | 12/7 | 11 a.m.–3 p.m. | 1 Session | Reg $66.00 Mem $59.40 Low $46.20

In this class—strictly for teen writers!—we’ll talk about common problems novelists experience and ways to get through them, using the experience of other participants and established writers.

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Need to Cancel? A nonrefundable fee of 15% is included in each registration. Partial refunds will be granted for cancellations received before the second class meeting of a multi-week class; or before the first meeting of a single- or double-session class; or start of the second week of an online class. We cannot refund for missed classes. In the rare instance that a teaching artist determines he or she cannot meet the needs of a student, the student’s full tuition will be reimbursed.

Methods of Paying: No installment payments. Space cannot be held before receiving full payment. A $20 fee is assessed for bad checks. If an agency, business, or other organization is paying student fees, payment is due at the time of registration. (Purchase orders or intent to pay notification cannot be accepted. We do accept Visa, MasterCard, Discover and American Express.)

What to Bring: Unless otherwise noted in the description, all you need is pen and paper. Some teaching artists will also collect a small copy fee on the first day of class. Bring a sweater as some classrooms may be chilly. Make sure your laptop is fully charged.

Class size: Most classes range up to 17 participants; 1- and 2-day classes may have up to 35.

Class Cancellation: Classes that do not meet minimum enrollments may be cancelled a minimum of 3 business days prior to the first class meeting with full refunds to all students. Register early.

Acceptance: The Loft reserves the right to refuse a registration for any reason.

Weather Cancellations: Cancellations are extremely rare. If concerned, call 612-379-8999 or check www.loft.org. An announcement will confirm cancel-lations by 3:30 p.m. weekdays, 8:30 a.m. Saturdays, and 10 a.m. Sundays.

Location: Most Loft classes take place in Open Book at: 1011 Washington Avenue South, Minneapolis, MN 55415

Parking: Limited free parking is available in Open Book lot on the east side of the building. There are also parking meters and pay-parking lots and ramps nearby. Handicapped parking is available in marked spots.

Take the Bus or Train: For routes, connections, and schedules, call 612-373-3333 or visit www.metrotransit.org

Bike: Bike racks are located at the rear of the building.

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in PeRsonStop in at Open Book during regular Loft office hours, 9 a.m.–5 p.m., Tuesday through Friday. Loft administrative offices are closed on Mondays. This is a great option if you’re looking for advice about what class to take (appointments also available).

by PhoneDial 612-379-8999.Loft education staff will be available to help you with your registration during regular office hours, 9 a.m.–5 p.m., Tuesday through Friday.

onlineVisit www.loft.org.Select your classes, check out teaching artist profiles, and register.

by FaxDial 612-215-2576.Fill out the registration form and send it “Attention: Education.” This option is only available when fees are paid by credit card.

by MailDownload and print the registration form at www.loft.org and send with your check, money order, or credit card information to:

The Loft Literary Center, Attn: Education Open Book, Suite 200, 1011 Washington Avenue South Minneapolis, MN 55415

support the Loft and Receive a Tuition Discount—Join or Renew Today! Members who have contributed at least $60 in the past year or sustaining members who contribute at least $5 a month are eligible for an instant 10% tuition discount. Your support goes directly to the Loft programs you value and contributes to the development of readers and writers. Thank you for sustaining this vibrant community.

regiStration optionS

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NovemberSATuRDAY, 7 P.M. | luis RodRiguezThe Loft at Open Book (Performance Hall)

Luis Rodriguez, the McKnight Artist Fellowship judge this year, will read from his work. He is the author of numerous books, including Always Running: La Vida Loca, Gang Days in L.A.

TuESDAY, 7 P.M. talking voluMes: Pat ConRoyFitzgerald Theater

Pat Conroy is the bestselling author of nine books including The Great Santini, The Lords of Discipline, The Prince of Tides, Beach Music, My Losing Season, and South of Broad.

SunDAY, 2 P.M. | seCond stoRyThe Loft at Open Book (Performance Hall)

The Loft’s Second Story Reading Series continues. Readers will be announced closer to the event at loft.org.

SATuRDAY, 12:30 & 2:00 P.M. Pie CRusts and PoeMs: the seCRet’s in the telling

Mill City Museum

Come experience pie as you’ve never experienced it before with Seattle’s “Pie Poet” Kate Lebo, author of A Commonplace Book of Pie! Kate will show you how to create the perfect crust while she redefines the relationship between pie and those who love it with poems, stories, and discussion. Demos start at 12:30 and 2:00.

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more details and future events listed at loft.org/events

SATuRDAY, 8 P.M. | the loFt’s equilibRiuM FeatuRing PC MuñozThe Loft at Open Book (Performance Hall)

PC Muñoz of San Francisco, California will produce a live event named Half-Breed, which will showcase work by mixed-race indigenous artists which directly addresses and celebrates the mixed-race indig-enous experience.

SunDAY, 2 P.M. | seCRet tRaFFiC: seleCted PoeMs oF Roy MCbRideThe Loft at Open Book (Performance Hall)

A memorial reading for Roy McBride, featuring Margaret Hasse and others. Roy McBride co-founded Poetry for the People and the Powderhorn Writers Festival, and is widely acknowledged as one of the most important literary figures in the Twin Cities over the past 30 years.

DecemberSATuRDAY, 6:30 P.M. eMily diCkinson biRthday ball

The Loft at Open Book (Performance Hall)

Celebrate Emily Dickinson with your friends and fellow authors at this winter party aimed to showcase the literary love in this community.

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Freewriting Identity

Every writer struggles with that initial what-do-I-put-down-on-the-page problem. Even John Steinbeck said, “When I face the desolate impossibility of writing five hundred pages, a sick sense of failure

falls on me and I know I can never do it. This happens every time.” This is every writer’s story, but every writer also begins with a treasure chest chockfull of enough writing materials for a lifetime. The simple practice of daily recording what struck you as interesting or listing items or moments that seemed significant can form a wealth of material. Former Poet Laureate Ted Kooser records a simple moment while out walking:

By the toe of my boot, a pebble of quartz, one drop of the earth’s milk, dirty and cold. I hold it to the light and could almost see through it into the grand explanation. Put it back, something told me, put it back and keep walking.

Part of the beauty of this poem is both its concreteness with “boot,” “quartz,” and “earth’s milk,” and also its explosive abstractness as he looks through the quartz and considers the “grand explanation.” It all comes out of a simple recorded moment. Writers often don’t know why certain things feel significant or even if those things really are until they begin to play with them on the page.Two major writing practices that help quiet my internal naysaying critic and help me produce work that speaks are freewriting and exploring personal identity. Keeping a freewriting journal, writing quickly without a single care whether sentences even make sense—total gibberish if

A Visit to the Writers’ Block blogThis post appeared on the Writers’ Block on June 17, 2013. visit writersblock.loft.org for daily postings on writing tips, trends, and stories.

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that’s what it takes—helps free one from writer’s block, perfection-ism, self-criticism—all those production-killing habits artists seem to struggle with. If you struggle to produce, “lower your standards and keep writing” as poet William Stafford reminds us. Of course, some of it will be awful, but who cares? There might be one word or phrase that surprises you and takes you in a direction you didn’t expect, which you can later develop. Surprisingly, this is where most of my poems and writing ideas originate. Even if I have a specific idea I want to pursue, I will freewrite with it first or, if I get stuck, freewrite with lines from the piece. It’s important to get ideas down and not care one jot whether it is any good, keeping in mind advice like Jacques Barzun’s: “let that first sentence be as stupid as it wishes.” If you are always waiting for bril-liant sentences, you will be waiting forever.Exploring my own personal identity has really given direction to my current writing projects. Currently, I have been using freewriting and research to explore moments from my childhood in a North Dakota town. Having left that place when I was seven, there is a magical aura surrounding my memories of that place. I can explore my family’s heritage as German immigrants and how that mingles with the rolling prairie geography of a place filled with the signs and symbols of Lakota Native Americans. There are specific places, items, and moments that held significance to me such as The Knife River, the play area under the stairs, a child-sized mop, the walk across the street to Dairy Queen, the five stitches in my head, the wild crocuses, and the friend I betrayed. In her Pulitzer Prize winning collection, Native Guard, Natasha Trethewey exemplifies an exploration of her ethnic heritage when she visits a tour-ist site that used to be a battle site:

The Daughters of the Confederacy has placed a plaque here, at the fort’s entrance – each Confederate soldier’s name raised hard in bronze; no names carved for the Native Guards – 2nd Regiment, Union men, black phalanx. What is monument to their legacy?

The practices of freewriting and identity exploration are great strate-gies for my work, allowing me to overcome the inner critic and raise the production level of my projects. And even when creating characters unlike oneself, it is still one’s identity—experiences, thoughts, empa-thies, values, and senses—that give realness and relatability to those characters. So capture those moments, explore your voice, and freewrite with abandon. To begin, just create; the critical eye comes later.

kyle Jaeger has an undergraduate degree in Education and is pursuing an MFA in Creative Writing from Minnesota State University, Mankato. He currently studies poetry while also enjoy-ing the many other shades of writing genres.

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How do i know which publishers or literary magazines to submit my work to?

Should i just submit to them all?

I wouldn’t suggest submitting your work to all the publishers and liter-ary magazines. Not only is it likely impossible, it wouldn’t be a good use of your time and resources. When it comes to deciding where to submit your work, it pays to do your research.You can learn quite a bit from scouring publishers’ websites. Take a look at their mission statements, their about pages, their author lists, but most importantly, read as much of their published work as you can and consider whether your work aligns with their aesthetic. It’s possible that you’ve never considered fitting your writing into a particular category, but the more research you do and the more you identify with other writers, you’ll come to understand where you fit in the literary landscape. This is one of the most effective ways to narrow down your submissions.Organizing your research in a document or spreadsheet can be helpful, too. There is a great deal of information to consider, and if you’re doing a huge amount of research, it will be difficult to keep all the details straight. It helps to record whether there’s a submission fee, whether you need to include return postage, the type/genre of the publication,

Ask advICe for the everyday wrIterEvery issue will feature Esther Porter answering questions from writers. Have a question for esther? Send it our way at [email protected].

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whether it’s a print publication or online or both, whether it pays royalties to its authors, and so on. As you learn what’s important to you, you’ll slowly tailor your submission list to reflect your identity as a writer.There may be publications you admire with authors whose creative bios seem about a mile longer than yours. Don’t be discouraged. Try to step back from yourself and observe your reaction from a distance. There’s a difference between being humbled and being intimidated into inac-tion. On the one hand, you may want to save your printing and postage costs if you don’t think your work is up to snuff, but on the other hand, what do you have to lose other than printing and postage costs? You may decide it’s worth it to include a few “long-shot” publications in your submission list. You don’t want to overextend yourself, but you also don’t want to sell yourself short. As with everything, find the balance that feels right to you.

How do i write about a memory that is fuzzy or uncertain? What if i don’t remember

exactly what happened?

Even while writing fiction, for which we’re afforded a certain creative license, it can be crucial to recount the past accurately. No matter where our writing lies on the fact/fabrication spectrum, there’s always a level of truth we’re trying to achieve.If you depend on the memories of others, and have access to willing and honest participants, it might be useful to conduct interviews. Even if you doubt their memory/honesty, their misinformation can be informational. What does it say about the story, that someone who experienced it recounts it incorrectly? For your purposes, will it be helpful to interview one person at a time (guarantee their privacy) or in a large group (offer accountability)?If it was a public event, you might gain insight by reading up on the media the event received. Though be careful, because the media doesn’t always get it right, and many sources can be biased. Consider the cultural context or the political climate surrounding the event, the reporter’s lot in life, the publication’s funding source, and so on.To uncover personal experiences, there are memory exercises you can try. I’m not suggesting the stereotypical exhuming of forgotten traumas. There’s debate around whether that’s even possible. What I’m suggest-ing is using gentle reminders that coax back memories you’re pretty certain you once possessed.

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If you keep a journal or diary, check back to see what you wrote. Look back at photos you took at the time. Or, just start writing…the more you walk through what you do remember, the other details fall into place. Close your eyes and recount the story out loud, in present tense, describ-ing as many details as you can. Try to explain the event to another person. If they ask you questions about the event, it might trigger a memory you didn’t realize you still had. Your sense of smell can also pull details from the filing cabinet in the back of your brain. If there’s something you know you smelled during that time, try to clear your mind and find a way to smell that certain something (perfume, spices, grass clippings, pool chlorine, alcohol, burn-ing asphalt, a smoking gun, you get the idea). Be careful, though. It’s easy to fabricate memories, so remain skeptical of yourself. A false memory can be more harmful than no memory at all.

esther porter is a Founding Editor at Revolver, an arts and culture magazine based in Minneapolis (www.around-around.com). She earned her English degree at the University of Minnesota, then spent five years working for Coffee House Press. She has four children’s books forthcoming from Capstone Press in 2013. To learn more, visit her website: www.estherporter.com.

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Loft activities are made possible through the generous contributions of Loft members and by the voters of Minnesota through a Minnesota State Arts Board Operating Support grant, thanks to a legislative appropriation from the arts and cultural heritage fund. Major support is also provided by Amazon.com, the William Randolph Hearst Foundation, Jerome Foundation, The Mcknight Foundation, national Endowment for the Arts, Surdna Foundation and Target.

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The Loft Literary Center strives to be accessible to all, without regard to race, color, creed, religion, national origin, veteran status, economic status, sex, gender identity or expression, age, sexual orientation, or disability. As possible, we will remove barriers to participation in our programs to persons with disabilities.

Our Open Book location is physically accessible, including designated disability park-ing by the back door, touch-operated building entrances, accessible gender-neutral bathrooms, elevators to all floors, and wheelchair-accessible seating. We ask your help in reducing synthetic fragrances in classes by refraining from wearing scented products here. You are welcome to bring an interpreter or personal attendant to class, as well as a service animal; please give us notice. upon request, we will provide class catalogs available in alternate formats such as large print or CD.

To arrange for accessibility accommodation, please contact the Education Administrator at 612-379-8999 three weeks in advance. Accessibility services are partly supported by the Rachel vaughan Memorial Fund.

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