Salvatore Pane

Tag: Kim Addonizio

2013 AWP GUIDE

I’ve been blogging about AWP for the last four years. You can check the previous guides here (2012, 2011, 2010). So I’m not going to ramble on too much with advice. You know how I feel about AWP. For me, it works best when I plan less. There’s too much to do, and every year it seems like I have more obligations and more friends and writers to meet. I’m never able to do even a fourth of what I’d like to, and often, my favorite moments of the conference have nothing to do with writing. Some of my favorite moments from last year were catching up with old classmates over a tray of deep dish pizza, or the time Kevin Tassini and I dragged Katie Coyle all over Chicago to look for video games. Just go and have fun. Be productive, but don’t overstress.

If you want to see me at AWP, there’s a few options. I’m doing a book signing at the Braddock Avenue Books table from 10:30 to 11:45 on Thursday. Come on down. Buy my book. Hug me? I’ll probably do a few more, and I’ll keep you posted here or via Twitter. I’m also participating in a panel on Thursday from 9-10:15am in Room 108 of the Plaza Level:

R109. Landing the Tenure-Track Job without a Book: What to Expect in the Job Market. (Kevin McKelvey, Salvatore Pane, Keya Mitra, Robert Long Foreman) In a competitive academic job market, how do you make yourself stand out without a book? Writers will discuss their diverse paths to tenure-track jobs and how to develop pedagogy for newer fields such as graphic novels and established fields like professional writing, screenwriting, composition, editing, and publishing. Panelists will discuss publications and teaching loads, how a visiting or contract position can turn into a permanent job, and whether or not you need a PhD.

If you want to see me read, come to this:

tpa

 

So let’s party. Let’s hang out. Let’s be cool. Below is my list of all the panels I’m interested in attending. Remember, these aren’t the “best” panels–I don’t even know what that would mean exactly. These are just the ones I’m going to try and make. Just relax and be cool. I’ll have an off-site guide posted soon.

THURSDAY

12:00-1:15

Room 200, Level 2

R167. Only Half as Crazy as We Seem: Exploring Unconventional Strategies for Indie Lit Startups. (Steve Westbrook, Matty Byloos, Carrie Seitzinger, J.A. Tyler, Skyler Schulze) At present, the notion of developing an independent literary startup tends to be perceived as a naïve dream or a bad business idea. Defying conventional wisdom, contributors to this panel discuss their recent experience of founding successful new journals, presses, and a reading series. As they examine how their efforts toward sustainability intersect or contradict industry lore, they offer strategies for developing alternative funding structures, distribution models, and marketing techniques.

Room 206, Level 2

R172. Literary Writers Writing Popular Fiction: What’s Up With That? (Ed Falco, Julianna Baggott, Lise Haines, Benjamin Percy) What exactly are we saying when we refer to a novel as literary or serious fiction, as opposed to popular or commercial fiction? Can clear distinctions be made? What do these commonly used terms—literary, serious versus commercial, popular—mean to writers? Is it possible to write a commercial novel that is also literary? Writers who have published literary works as well as novels that might be considered popular fiction explore these and other relevant questions.

Room 313, Level 3

R185. Too Much or Not Enough? Expectations in the Introductory Multi-Genre Creative Writing Classroom. (Carrie Shipers, Laurel Gilbert, Heather Kirn Lanier, Casey Thayer) Five teachers from two-year colleges will discuss best practices for teaching introductory-level multi-genre creative writing classes. What are the unique challenges of teaching creative writing in this setting, and how do we respond to them? Panelists will address how much (and what kind) of writing students should do; the appropriate role of reading student and published texts; expectations for revision; and the efficacy of full-class workshop.

1:30-2:45

Room 102, Plaza Level

R187. Party Down: Effective Fundraising Events on the Cheap. (Steph Opitz, Maribeth Batcha, Paul Morris, Eric Lorberer) Fundraising events don’t need to be fancy dinners and formal wear—learn from folks from One Story, PEN America, and Rain Taxi about producing effective and novel small fundraising events and strategies on a budget.

Room 104, Plaza Level

R189. Nothing but the Truth: Perspectives on Creative Nonfiction in the Classroom and Beyond. (Catherine Cortese, Michael Martone, Diane Roberts, Robin Hemley, Debra Monroe) Creative nonfiction continues to grow in popularity among readers and students of writing. The genre, however, lacks a standard definition. Some believe the slippery nature of perception affords writers infinite liberties, while others see the genre as one that artfully deploys stable facts. This disparity makes the genre tricky to write and trickier to teach. The writers on this panel will discuss the freedoms and constraints of the genre in their classrooms, as well as in their own work.

Room 200, Level 2

R196. From Parts to a Whole: Turning a Bunch of Essays into a Unified Book. (David Giffels, Chuck Klosterman, Sean Manning, Chuck Klosterman, Meghan Daum) Why do some books of essays feel like collections of B-sides, outtakes and orphans, while others carry the thematic and narrative satisfaction of a good concept album? Drawing from their own experiences, this panel of successful authors discusses vital techniques for conceiving, organizing, developing, and enhancing a collection of creative nonfiction essays into a unified whole. We will address how to balance recurring themes, maintain voice and tone, how to build bridges, and other topics.

3:00-4:15

Room 103, Plaza Level

R218. Does Place Still Matter? The Relevance of Regional Fiction in the 21st Century. (Brett Boham, Stewart O’Nan, Susan Straight, Alex Espinoza, Michael Jaime-Becerra) Attempts to categorize American literature often begin and end with region. Southern fiction. New England poetry. Midwestern novel. But to what extent is regionalism a useful lens through which to understand contemporary American literature? How do so-called regional writers conceptualize place? And has the expansion of the American counterculture and social media forever changed the landscape of regional fiction? Panelists will discuss the advantages and limitations of thinking regionally.

Room 105, Plaza Level

R220. All the Young Dudes: A Reading from Four Debut Collections. (Jared Yates Sexton, Eugene Cross, Andrew Scott, Jensen Beach) It’s said that everyone has stories, but publishing those stories, particularly a book-length collection of them, is proving more confounding a process than ever. Join four emerging writers with debut collections for a short reading from their work, followed by a Q&A session detailing how they got their first book deals, their experiences in attracting presses and navigating contracts, and an array of advice for aspiring scribes.

Room 200, Level 2

R226. Second Sex, Second Shelf? Women, Writing, and the Literary Marketplace. (Christine Gelineau, Erin Belieu, Bobbie Ann Mason, Lydia Diamond, Meg Wolitzer) Statistics suggest a gap still exists. But is there a problem, and if there is, what is its nature? What changes/remedies/metamorphoses can/should be imagined? Do you think about this issue differently in terms of your writing and in terms of your career? Accomplished writers, who happen to be women, theorize and report out of their own experiences and analysis of the current literary scene.

Room 206, Level 2

R231. The New Kids in the Class—Teachers Under 35. (Michael Croley, Laura van den Berg, Erica Dawson, David James Poissant, Holly Goddard Jones) Five professors discuss their transition from graduate student to faculty member and the advantages and difficulties their age has posed in negotiating—and finding—their teaching styles with undergraduate and MFA students as well as what role(s) they take on in their courses and departments. The session offers insights and best practices regarding the first few years on the job in and out of the classroom, while also discussing how gender may affect the perception of a young teacher.

Room 305, Level 3

R238. Oh, Grow Up: Writing Kids’ Voices in Literary Fiction. (Alexi Zentner, Alison Espach, Aryn Kyle, Haley Tanner) A lot of literary writers are writing young adult novels, but what about writing the voices of young adults and children in literary fiction? Five novelists talk about how to create believable young voices in adult fiction, how to avoid the imitative fallacy, the power of narrative distance, and how to balance grown-up needs while having kids in the story.

Alice Hoffman Bookfair Stage, Exhibit Hall D, Level 2

BF16. Major Jackson’s Ploughshares Issue Reading. (Ladette Randolph, Major Jackson, Maggie Dietz, Emily Bernard, David Huddle) Ploughshares literary magazine editor-in-chief Ladette Randolph will host a reading to celebrate Major Jackson’s guest-edited issue. Jackson will read from his work and speak briefly about his experience selecting work for the magazine. He will be joined by contributors from his issue, including Maggie Dietz, Emily Bernard, and David Huddle.

4:30-5:45

Hynes Ballroom, Level 3

R244. Alice Hoffman & Tom Perrotta: A Reading and Conversation, Sponsored by Grub Street. (Christopher Castellani, Alice Hoffman, Tom Perrotta) Internationally best-selling writers Alice Hoffman and Tom Perrotta, authors of over thirty books between them, read from their recent fiction. After the reading, Grub Street artistic director and novelist Christopher Castellani moderates a discussion that focuses on how these authors continually appeal to wide audiences with novels and stories of great depth, subtlety, and cultural relevance. The discussion will also touch on how these authors use humor and magic in their work, the creative roles they’ve played in their film adaptations, and other topics related to the craft of fiction.

Room 104, Plaza Level

R248. Eros in the Classroom. (Heather McNaugher, Michele Morano, BK Loren, Eileen Myles, Barrie Jean Borich) More than a few academic careers in literature and writing were ignited by a crush on a teacher. But desire in the classroom is constructed, often for good reason, as threatening and inappropriate; we therefore don’t acknowledge or talk about it. This panel, inspired by Michele Morano’s recent Ninth Letter essay, “Crush,” speaks plainly and honestly about the overlap of desire and pedagogy, and how the writer-teacher has constructively channeled it into her/his creative work.

Room 200, Level 3

R255. Thoreau’s Granddaughters: Women Writing the Wild. (Suzanne Roberts, Cheryl Strayed, Pam Houston, Gretchen Legler, Li Miao Lovett) Do women approach writing both the wildness of the land and the wilderness of their own bodies differently from men? Do women have a uniquely feminine vision of what it means to be wild? Are they judged by a different set of aesthetics? These five women panelists, including memoirists, novelists, and poets, will discuss their literary influences, the joys and challenges, and the internal doubts and external criticism they face in writing the wild.

Room 208, Level 2

R262. What to Do Before You Debut. (Randy Susan Meyers, Nichole Bernier, Jane Roper, Carleen Brice) Authors are often naïve about their role in finding readers, and they are rarely taught the iterative steps involved in the process of a book launch. Panelists will share specific methodologies, from best practices for websites, publicity, marketing decisions, and working with publishing houses, to assessing the line between awkward hawking and reasonable audience building. Timelines, methods, and tools offered will be balanced with discussion of the art of finding comfortable promotional voices.

Room 309, Level 3

R270A. Southern Writers in Exile. (Michael Croley, Richard Bausch, Michael Griffith, Steve Yarbrough, Brad Watson) Writers who identify as southern don’t often stray far from home, but as some have moved into teaching positions, they find themselves now living all over the country, out of their comfort zones. This panel explores how that distance has affected each writer’s approach to their craft and teaching, as well as what it means to be a southern writer no longer living in the South, and what role regionalism plays in the landscape of American literature.

FRIDAY

10:30-11:15

Room 103, Plaza Level

F134. Courage, Craft, and Cunning: From MFA Thesis to Published Book. (Jayne Anne Phillips, Will Schutt, Christa Parravani, Ryan McIlvain, Akhil Sharma) This panel features poets and fiction writers whose manuscripts began in their MFA thesis and progressed through revision and invention to first books published by respected presses. Each will read for four minutes, discuss mentorship in their MFA programs, and compare notes on structuring first books, publishers, and the cunning (as in artful, resourceful) required of writers whose lives embrace far more than writing. Audience Q&A will follow.

Room 109, Plaza Level

F139. The Geek in Me: Writing from the Cultural Fringe. (Ethan Gilsdorf, Lizzie Stark, Peter Bebergal) Geek and fringe subcultures such as Dungeons & Dragons, Larping, psychedelia, punk rock, and comic books can be ideal portals through which to examine the self, construct narratives, and comment on the culture at large. In this session, three panelists whose books mix memoir, pop culture, and ethnography discuss best practices for breaking into subcultures conducting fringe culture reportage and using that research to tell powerful and poignant stories about the human condition.

12:00-1:15

Room 101, Plaza Level

F161. Experimental Fiction Today. (John Parras, Daniel Green, Alissa Nutting, Ted Pelton, M. Bartley Seigel) Editors, writers, critics, and teachers discuss recent trends in experimental fiction and how such work enriches the publishing landscape, the creative writing workshop, and the direction and function of literature itself. What are some of the more exciting trends in innovative fiction? What are the special challenges and rewards for writers testing fiction’s limits? How does fabulist work work? If all literature is innovative, what distinguishes the experimental from other types of fiction?

Room 200, Level 2

F171. Does the World Need Another Literary Magazine? (Tom Bligh, Catherine Dent, Dave Essinger, Karolina Gajdeczka, E. Ethelbert Miller) Undergraduate literary journals encourage students to take responsibility for the shape and form of their work and to learn about publishing through firsthand exposure to the process. Panelists share unconventional wisdom on ways to help print and online journals survive and thrive while sustaining enthusiasm and maintaining high standards. Editors discuss the advantages to joining the Forum for Undergraduate Student Editors (FUSE) and explain how to start your own FUSE chapter.

Room 202, Level 2

F173. How to Build a Successful Kickstarter Campaign for Your Publishing Project. (Meaghan O’Connell, Benjamin Samuel, Mat Honan, Joshua Mandelbaum, Laurie Ochoa) Kickstarter moderates a panel of editors from Electric Literature, Words Without Borders, Slake, Longshot, and Tomorrow Magazine for an instructional and informational session on developing a successful Kickstarter campaign for your periodical or publishing project. We’ll walk you through the process step by step and discuss how to best represent your brand, set a fundraising goal, shoot a video, create rewards, engage backers, and promote your campaign.

Room 210, Level 2

F180. The Urge Toward Memoir. (Elisabeth Schmitz, Jill Kneerim, Michael Thomas, Jeanette Winterson, Lily King) Novelists Jeanette Winterson, Emily Raboteau, Michael Thomas, agent Jill Kneerim, and editor Elisabeth Schmitz discuss the writer’s urge toward memoir. What defines memoir and is it any more “true” or less creative a process than fiction? Panelists will talk about a favorite memoir and the forms they invented for their own.

1:30-2:45

Room 206, Level 2

F205. A Point of View on A Point of View. (Daniel Menaker, Amy Hempel, Bret Anthony Johnston) Point of view is the lens through which a writer conveys the vision of a story. But what is it about point of view that makes an editor pick an unknown writer out of a pile of unsolicited submissions? And what is it about point of view that makes a series of short stories cohere into an original and memorable collection? In A Point of View on A Point of View, distinguished editor Daniel Menaker and much-anthologized writers Amy Hempel and Bret Anthony Johnston turn a lens on the lens itself.

3:00-4:15

Veterans Memorial Auditorium, Level 2

F219. Don DeLillo & Dana Spiotta: A Reading and Conversation, Sponsored by The Center for Fiction. (Noreen Tomassi, Don DeLillo, Dana Spiotta) Celebrated novelists Don DeLillo, author of Underworld, Libra, and White Noise, and Dana Spiotta, author of Stone Arabia, present readings, to be followed by a discussion moderated by Noreen Tomassi, Executive Director of the Center for Fiction.

Room 108, Plaza Level

F227. Write Short, Think Long: Exploring the Craft of Writing Flash Nonfiction. (Kathleen Rooney, Sue William Silverman, Peggy Shumaker, Judith Kitchen, Ira Sukrungruang) In celebration of this popular emerging genre, as well as the publication of The Rose Metal Press Field Guide to Writing Flash Nonfiction: Advice and Essential Exercises from Respected Writers, Editors, and Teachers, edited by Dinty W. Moore, five of the book’s twenty-six diverse contributors gather to discuss what makes good flash nonfiction memorable and unique, and to offer up ideas and techniques for writing, publishing, and reading the brief essay form well.

Room 202, Level 2

F233. Women on the Road: Exploration, Inspiration, and Imagination in Fiction. (Tara L. Masih, Mary Akers, Jessica Anthony, Midge Raymond, Laura van den Berg) An exploration of crafting stories and novels that place characters in distant regions and countries, and how travel abroad helped shape the countries of the panelists’ imaginations. Panelists will share travel experiences and photos, inspirations, readings, and the process of creative observation. Tips will be offered on using research to fill in travel gaps, both in contemporary and historical contexts, and on negotiating the complexities of writing about cultures different from one’s own.

4:30-5:45

Veterans Memorial Auditorium, Level 2

F250. Alison Bechdel & Jeanette Winterson: A Reading and Conversation, Sponsored by Emerson College MFA. (Alison Bechdel, Jeanette Winterson, Elisabeth Schmitz) Alison Bechdel, author of the graphic memoir Fun Home and the ground-breaking comic strip Dykes to Watch Out For, and Jeannette Winterson, author of Written on the Body and the memoir Why Be Happy When You Could Be Normal?, present readings from their work followed by a discussion moderated by Elisabeth Schmitz, Executive Editor at Grove/Atlantic, Inc. The events will be introduced by Emerson College’s Steve Yarborough, author of the novels Safe from the Neighbors and The End of California.

Room 202, Level 2

F263. Blue-collar College Students and the Creative Writing Degree. (Jerry Wemple, Lawrence Coates, Claire Lawrence) Faculty from creative writing programs in rust belt regions that traditionally serve students from blue-collar backgrounds ponder what, exactly, they are preparing their students for, since most undergraduates will not become “professional” writers. The panelists discuss what they are trying to accomplish in their programs, what their graduates feel they’ve learned and how they are using that knowledge, and potential revisions to a program after re-assessment at the ten-year mark.

Room 206, Level 2

F266. Bring Out Your Dead: Writing Ghosts (and Zombies) in Literary Fiction. (Rebecca Makkai, Tea Obreht, Lauren Groff, Dan Chaon, Alexi Zentner) The ghost story thrives in literary fiction as well as the oral tradition, defying genre. How do we keep these compelling tales fresh? How do we frighten without resorting to cheap tricks? How do we navigate the borders between spirituality, science, doubt, and a reliable narrative voice? And why are we drawn to these themes again and again? Five writers introduce you to their ghosts and tell you how they summoned them.

Room 207, Level 2

F267. What We Write About When We Write About Music. (Laurie Lindeen, Rick Moody, Will Hermes, Jen Trynin, Jacob Slichter) All art aspires to music because it touches our hearts, souls, senses, and imaginations This panel of writers, musicians, and writing instructors loves, appreciates, knows, and plays music. They have written passionately about music in memoirs, essays, novels, songs, poetry, and blogs. Each individual on this panel would like to share his or her unique path with prose and music, and share their collective beliefs in the emotional, rhythmic importance of musicality when writing and when teaching writing.

Room 102, Plaza Level

F269. The Literary Legacy of Andre Dubus. (Matthew Batt, Andre Dubus III, Melanie Rae Thon, Nancy Zafris, Bruce Machart) Andre Dubus (1936-1999), author of nine volumes of fiction and two collections of essays, including Meditations from a Moveable Chair and Dancing After Hours, was a long-time resident of Haverhill, Massachussets, and is widely recognized as one of the greatest practitioners and teachers of the contemporary short story. Panelists, including Dubus’s son, a former student, a close friend, and a lifelong fan, will discuss their relationship with Dubus and what they learned from his work and life.

6:00-7:15

Room 110, Hynes Convention Center, Plaza Level

F283. Forum for Undergraduate Student Editors (FUSE) Caucus. (Catherine Dent, Michael Cocchiarale, Esme Franklin, Andrew Baker, Sarah Gzemski) Are you an undergraduate interested in editing and publishing or a faculty member working with undergraduate students on a literary journal or small press? Come join FUSE for its annual meeting, which includes national elections and FUSE chapter updates, followed by a roundtable discussion. This year’s topic is the interdisciplinary nature of undergraduate publishing, i.e. how and why to forge good relationships among departments. Bring ideas and journals to exchange.

8:30-10:15

Veterans Memorial Auditorium, Level 2

F284. Amy Bloom & Richard Russo: A Reading and Conversation, Sponsored by Lesley University. (Leah Hager Cohen, Amy Bloom, Richard Russo) Amy Bloom is author of the New York Times best-selling Away: A Novel, and Where the God of Love Hangs Out, a collection of short fiction. Richard Russo is the Pulitzer Prize-winning author of Empire Falls, Straight Man, and Nobody’s Fool. The reading will begin with an introduction by poet Steven Cramer, director of the Lesley University Low-Residency MFA in Creative Writing, and will be followed by a discussion moderated by novelist and critic Leah Hager Cohen, author of The Grief of Others and House Lights.

Hynes Ballroom, Hynes Convention Center, Level 3

F285. Language at the Breaking Point, Sponsored by Blue Flower Arts. (Kwame Dawes, Jorie Graham, Terrance Hayes) Pulitzer Prize-winner Jorie Graham and National Book Award-winner Terrance Hayes stretch language past the barriers of mind and limitations of personal experience to reinstate a kind of dignity to the world. Their creative tensions puncture the commonplace allowing the familiar to dislocate, laying bare our tenuous connection to life. Yet grace and a vivid, wakeful presence abide. Their poems demonstrate how the excavation of language itself can shape new possibilities for imagination to evolve.

SATURDAY

9:00-10:15

Room 303, Level 3

S123. Puritan Scar, Scarlet Letter: Contemporary Writers on Hawthorne’s Masterwork. (John Domini, Amy Wright, Heidi Julavits, Jennifer Haigh) No novel so established Boston as a literary center as Nathaniel Hawthorne’s The Scarlet Letter (1850), and few have left such an indelible trace across the American project since. Hester Prynne’s struggle raises core issues of outsider and community in all their moral contrariness. As art, too, the novel sets a rare challenge, working cross-gender and cross-genre, at once romance and realism, transcendental and ambiguous. Panelists assess the impact the book had both locally and worldwide.

10:30-11:45

Room 111, Plaza Level

S137. The Art and Craft of Short-Form Nonfiction. (Sarah Einstein, Joni Tevis, Brian Oliu, Chelsea Biondolillo) Can you write an essay in 140 characters? In 750 words or fewer? And can you get it published once you have? Join the managing editor of Brevity, two authors of short-form collections, and a graduate student working in this exciting new form as they share techniques and strategies for writing and marketing short-form nonfiction—from the lyric to the expository.

Room 200, Level 2

S138. The Lake Effect: A Celebration of Fifty Years of Creative Writing at Syracuse University. (Sarah Harwell, George Saunders, Arthur Flowers, Brooks Haxton, Christopher Kennedy) Syracuse University’s creative writing program celebrates its fifty-year anniversary with a reading by current faculty. The faculty will read from their own work as well as highlight work from a diverse and celebrated group of alumni and past faculty. Readers will include poets Brooks Haxton, Christopher Kennedy, and Sarah Harwell and fiction writers Arthur Flowers and George Saunders.

Room 207, Level 2

S144. Agents, Editors, and the State of Publishing. (Mary Gannon, Jofie Ferrari-Adler, Jennifer Joel, Chuck Adams) Agents and editors share behind-the-scenes perspective about what authors need to know about the changing industry of publishing. How have e-books, e-readers, and self-publishing affected the industry? With the closing of Borders and the growing influence of Amazon, how have changes to distribution channels affected the way publishers market books, and what does this mean for authors? How have the best practices for submitting work to agents and editors changed?

Room 302/304, Level 3

S148. Breaking the Jaws of Silence. (Sholeh Wolpe, Kim Addonizio, Tom Sleigh, Quincy Troupe, Yusef Komunyakaa) Poets are a threat to despotic regimes as light is a threat to darkness. In a project to benefit PEN USA’s Freedom to Write program, prominent American poets raise their voices and call on poets to bear witness, to collectively engage, to activate, to call, to give texture, to demand, to caress, to shatter, to build, and to never let the world forget.

Room 306, Level 3

S150. If These Walls Could Talk… Oh Wait, They Do! (Eleanor Henderson, Stewart O’Nan, Tea Obreht) The whole world is a stage, but as fiction writers we get to choose where and when to set a story. That decision can influence everything else in the novel, for better or worse. Four novelists talk about the pressures that settings, both urban and rural, can place on our fiction, and how and why to make choices about landscape.

12:00-1:15

Room 209, Level 2

S172. From the University of Nebraska Press: Readings from The Prairie Schooner Book Prize Anniversary Reader. (Hilda Raz, Shane Book, Brock Clarke, Jesse Lee Kercheval, Susan Blackwell Ramsey) A perfect time capsule of the diverse, experimental trends in American poetry and short fiction over the last ten years, The Prairie Schooner Book Prize Anniversary Reader pulls together excerpts from all twenty winning books of Prairie Schooner’s Book Prize Series. The Press will launch this anthology at AWP 2013; come listen to four of the most successful winners read and hear Hilda Raz, legend and influential founder of the Book Prize Series, discuss finding work that speaks to our living moment.

Room 302/304, Level 3

S174. Write Where You Know: When Setting Serves as a Main Character in a Novel. (John Roche, Jennifer Haigh, Thomas Kelly, Richard Russo) Richard Russo’s bestselling novels, including Pulitzer-winner Empire Falls, uniquely capture a sense of place, whether it’s dying blue-collar towns in upstate New York or New England enclaves. Thomas Kelly, the author of three novels praised for their authentic depiction of New York City, and Jennifer Haigh, whose four novels include Faith, set in Boston, will join Russo in discussing the importance of setting in their fiction, at times to the point where place itself becomes a main character.

Room 306, Level 3

S177. Reading by Grand Central Authors. (Benjamin Percy, Julianna Baggott, Ed Falco) Discover three of the strongest voices in contemporary fiction at a reading by Grand Central’s finest. Julianna Baggott is the author of Pure, the first book in a postapocalypic series which was a New York Times Editor’s Choice. Ed Falco’s most recent novel, a prequel to The Godfather titled The Family Corleone, is based on material excerpted from screenplays by Mario Puzo. Benjamin Percy’s new novel, Red Moon, is an epic and terrifying story of lycans set in the American West. Prepare for a thrilling night—and take the cannoli.

1:30-2:45

Room 306, Level 3

S204. How to Lose Friends and Alienate Loved Ones: Exploitation vs. Documentation in Creative Nonfiction. (B.J. Hollars, Roxane Gay, Marcia Aldrich, Ryan Van Meter, Bonnie J. Rough) Not every story is flattering, nor is every character. Nevertheless, nonfiction writers continue to document their lives and the lives of others, often at the risk of violating personal relationships. How should writers navigate between revealing the true nature of their subjects without alienating the people themselves? Join four writers as they explore the fine line between documentation and exploitation, among other ethical dilemmas inherent in writing of friends, family, and loved ones.

3:00-4:15

Room 103, Plaza Level

S211. Video Games, Fan Fiction, and Comics: Alternative Genres as Legitimate Literature. (Leslie Salas, Jim Miller, Elaine Phillips, Kirsten Holt) Alternative forms of narrative are often perceived with disdain or suspicion even though they address the same plots, themes, and conditions of respectable literary forms. Comics have begun to break away from this stigma, but what about more mainstream genres, such as fan fiction and video games? How do all three of these alternative forms both threaten and reinforce ideas about originality and narrative? This panel will make the case for alternative genres as creative literature.

Room 200, Level 2

S219. A Reading by Matthew Batt, Jen Percy, and Rob Currie, Jr. (Matthew Batt, Ron Currie, Jr., and Jacob Paul) Matthew Batt, author of Sugarhouse, Ron Currie, Jr., author of God Is Dead, Everything Matters, and Flimsy Little Plastic Miracles, and Jacob Paul, author of Sarah/Sara, will read from their recent work, all of which deals with, in the face of catastrophic loss, the sometimes funny, sometimes harrowing ways we try to mend our lives.

Room 210, Level 2

S228. Art vs. Commerce: Writing for Love and Money. (Elizabeth Benedict, Stephen McCauley, Stephen Elliott, Maud Newton, Steve Almond) Grace Paley’s advice to writers: Keep your overhead low. But when teaching doesn’t lead to tenure, how do literary writers cobble together a living and a life while writing work that matters? Panelists who have had unconventional careers largely outside the academy examine their decisions and discuss the role of money, literature, and serendipity in their creative pursuits: editing an online literary magazine, writing soft-core porn, and creating advice columns, TV shows, and yoga books under a pseudonym.

Room 302/304, Level 3

S229. Z.Z. Packer & Meg Wolitzer: A Reading and Conversation, Sponsored by VIDA: Women in Literary Arts. (Cheryl Strayed, Z.Z. Packer, Meg Wolitzer) Fiction writers will give a reading followed by a conversation about race, literature that happens to be written about women (as Wolitzer puts it in a recent New York Times essay), and the realities of the contemporary publishing landscape, moderated by Cheryl Strayed, VIDA board member and author of Wild. AWP participants are encouraged to join a brief Q&A period to be held afterwards.

4:30-5:45

Room 302/304, Level 3

S256. Smart Girls. (Terry Ann Thaxton, Terese Svoboda, Bobbie Ann Mason, Kelly Cherry, Elissa Schappell) Girl does not denote age but power—no men in it. No ladies-first either. A girl’s got gumption. A pre- and post-feminist name for great girl lit. Different from the chick kind, the just-hatched; we’ve been around, we’re serious. This is for women and men who go for it, featuring readings from our books that qualified us for The Smart Girls club. We represent a diversity of age, region, and genres.

8:30-10:00

Veterans Memorial Auditorium, Level 2

S263. Augusten Burroughs & Cheryl Strayed: A Reading & Conversation, Sponsored by the Wilkes University Low-Residency MA/MFA Program in Creative Writing. (Bob Morris, Augusten Burroughs, Cheryl Strayed) Augusten Burroughs, author of memoirs Running with Scissors and Dry, and Cheryl Strayed, author of the best-selling memoir Wild and the voice behind the Rumpus’s beloved “Dear Sugar” column, will present readings of their work, followed by a discussion moderated by columnist and commentator Bob Morris, author of the memoir Assisted Loving: True Tales of Double Dating with My Dad. The authors will be introduced by playwright and novelist Bonnie Culver, director of the Wilkes University Low-Residency MA/MFA Program in Creative Writing.

2012 AWP Guide

And so it begins again. In less than two months we will be reunited in Chi-town to discuss our websites, publications, and favorite Nintendo games. xTx will play Dark Tower. Devan Goldstein will cry. Brian Oliu will rock a track suit. I will undoubtedly ramble about mid-nineties Spider-Man stories to vaguely interested new friends.

A-W-P!

This is my third year writing a guide, and it’s my fourth time attending. Each year has been significantly better than the last. What began as an excuse to hang around an exotic city with my friends has turned into the conference where Facebook Comes to Life! Here are all those people that post things that I click a button to like! And most of them are great people too! And they’re all fun to drink with. Let me recap what I basically said in last year’s guide. There are two AWPs. There’s the day AWP where you engage in thought provoking panels and strike up conversation with interesting people in the bookfair who work for journals and presses. Then there’s the night AWP where you attend reading after reading and everything is in a bar and everyone’s going nuts. It’s the worst. It’s the best. It’s AWP.

In the unlikely event that you’re interested in hanging out with this champion (crickets), here are three times/locations you can definitely find me.

Thursday
7

Convocation in Chicago
Location: Beauty Bar
Cost: Free
PANK, Annalemma, and Mud Luscious will once again host a holy meeting of literary minds. Convocation in Chicago will feature performances by Scott McClanahan, Daiva Markelis, Jac Jemc, Robb Todd, Sal Pane, Brian Oliu, Aubrey Hirsch, Matt Bell, xTx, Chris Newgent, Brett Elizabeth Jenkins, Casey Hannan, Tim Jones-Yelvington, Brandi Wells, Doug Paul Case, Ryan Bradley, Myfanwy Collins, Sarah Rose Etter, Laura Ellen Scott, Molly Laich, and Allyson Boggess.

Friday
7
Stymie Magazine Presents: A Really Big Show
Location:Theory Sport.Dine.Lounge; 9 W. Hubbard
Cost: FREE
Stymie Mag is coming to AWP 2012 and we’re throwing a party, or at least a reading with words, beverages, and good times at Theory Sports Lounge. We couldn’t be more excited and hope you are too (and that you’ll mark the date/time on what we’re sure is an already busy AWP calendar)!

Featuring:
Cynthia Hawkins, Tim Kahl, Jeanie Chung, James O’Brien, Lauren Becker, Alex Moody, Steven Kowalski, Joseph Baron-Pravda, Diane Durant McGurren, Shaindel Beers, Sal Pane, Erin Elizabeth Smith, Joe Ponepinto, J. Bradley, Megan Cass, Elijah Burrell, Ilan Mochari, Tyler Gobble, Mark Cugini, and Maria Nazos

Saturday
10:30am-11:45am
S143. Vampire by Vampire: Genre Writing and the Creative Writing Workshop
(Jeffrey Condran, Aubrey Hirsch, Alissa Nutting, Salvatore Pane)
Honoré Ballroom, Palmer House Hilton, Lobby Level
At a time when many students’ visual literacy is as highly developed as their traditional literary skills, when genre fiction dominates publisher and best-seller lists, and when many writers of literary fiction are open to narratives that reach beyond realism, instructors are often under pressure to include genre traditions in the fiction workshop. Four fiction writers teaching at colleges with diverse missions share stories and discuss strategies for including genre conventions in the workshop.

Below are the panels I’m thinking of attending. Let me be extremely clear on this. These aren’t the top however many panels of AWP. These are just the ones I’m most interested in seeing. That means there’s a huge fiction/comics/pedagogy/small press bias. Also, I’ll be rolling out a guide to the outside events sometime in the near future. Get pumped.

Thursday
9-10:15

R103. A Writing Life, After the Workshop
(Ilana Shabanov, April Newman, Daniel Prazer, James Lower, Sheree Greer)
Boulevard Room A,B,C, Hilton Chicago, 2nd Floor
This intensive presentation covers what your MFA program might have missed: how to organize and sustain a writing life in today’s economy. Our event showcases planning ideas, technology solutions, and tools writers can use to take control of their career and maintain a writing lifestyle long-term. The approach is engaging to the audience, displaying websites and tools available to writers to promote their work. The audience members will come away with resources and an action plan for their writing life. A Q&A session follows.

R104. The Constant Critic Anniversary Panel: Poetry Reviewing in the 21st Century
(Karla Kelsey, Ray McDaniel, Sueyeun Juliette Lee, Vanessa Place, Jordan Davis)
Continental A, Hilton Chicago, Lobby Level
In 2002, Fence publisher Rebecca Wolff began the Constant Critic, an online-only poetry book review website. The venues for poetry criticism have dramatically altered in the past ten years, but the ,CC, has remained. This panel, staffed by the site’s five critics (two of whom have been with the project since the beginning) discusses what it means to have a lengthy presence in one venue along with issues surrounding the rapidly changing world of poetry publication, dissemination, and criticism.

R108. Reports from the Trenches: Teaching Novel and Novella Workshops
(Richard Sonnenmoser, Sabina Murray, Katherine Karlin, Cynthia Reeves)
Lake Erie, Hilton Chicago, 8th Floor
Workshops focused on long-form narratives are difficult for many creative writing teachers to imagine. This panel focuses on issues related to the effective teaching of novel and novella workshops for graduates and undergraduates. Panelists who have been in the trenches of long-form workshops will discuss course design and suggested readings and give advice about the problems specific to workshops focused on longer forms.

R111. Of, By, and For the People: Indie Lit in the Second City
(S. Whitney Holmes, Jacob S. Knabb, James Tadd Adcox, Amanda Marbais, Jonathan Fullmer)
Lake Ontario, Hilton Chicago, 8th Floor
Editors from a range of Chicago publications—online and print, established and upstart—discuss why independent literature thrives in Chicago, how their organizations contribute to a dynamic local literary community, and how their publications contextualize the city’s contemporary literary landscape for readers outside of Chicago. Panelists invite questions about how to get involved in the literary and publishing community in Chicago and offer advice for fostering such a community in any city.

R117. The Business of Publishing Your Novel with an Independent Press: Author and Publisher Perspectives
(Dennis Johnson, Joe Meno, Adam Levin, Christopher Boucher, Leigh Stein)
Wiliford C, Hilton Chicago, 3rd Floor
Melville House publisher and co-founder Dennis Johnson leads a practical discussion of the publishing process with four authors in various stages of their literary careers: Joe Meno has had seven books published since 1999, Adam Levin’s first novel was a 2010 critical hit, and Christopher Boucher and Leigh Stein have debut novels appearing in 2011 and 2012. Topics include acquisitions, editing, big house versus indie publishing, publicity, marketing, tours, social networking, and the changing role of the author.

R119. Flash Points: Publishing Flash Fiction in an Evolving Landscape
(Glenn Shaheen, Roxane Gay, Nancy Stebbins, Edward Mullany, Adam Peterson)
Empire Ballroom, Palmer House Hilton, 3rd Floor
Editors from PANK, NANO Fiction, matchbook, SmokeLong Quarterly, and the Cupboard discuss trends they see in the flash fiction submitted to their journals. What are some tropes they’re tired of? Things they wish they’d see more often? Are prose poems and flash fiction pieces scrutinized differently when submitted? Join the editors as they attempt to (briefly, of course) characterize the landscape of contemporary flash fiction and give advice to those who are submitting their shortest work.

10:30-11:45

R127. Ideas That Always Work; Solutions That Never Fail: Best Practices for the Creative Writing Workshop
(Christopher Castellani, Ethan Gilsdorf, Lisa Borders, Jill McDonough)
Continental A, Hilton Chicago, Lobby Level
Every workshop has problems: the dude who won’t stop talking; the lady who keeps psychoanalyzing; the inappropriately dirty/violent/creepy story. Every workshop needs new ideas: unique exercises that always yield worthwhile pages; rules that structure conversation without squashing spontaneity. In this panel, instructors of all genres will share case studies of how they deal with common problems and also reveal their best strategies for maximizing the effectiveness and fairness of workshops.

R130. Angles of Ascent
(Toi Derricotte, Major Jackson, Yusef Komunyakaa, Dawn Lundy Martin, Vievee Francis)
International Ballroom South, Hilton Chicago, 2nd Floor
In this reading, representative voices of eighty poets spanning three generations discuss and read from the anthology Angles of Ascent (edited by Charles Rowell). This landmark project was published by W. W. Norton in February 2012. Toi Derricotte, Major Jackson, Yusef Komunyakaa, Dawn Lundy Martin, and Vievee Francis will discuss the nature and importance of Angles of Ascent in American poetry. This will be followed by twenty minutes of readings and a ten-minute exchange with the audience.

R134. Phoning It In: Publishing through an iPhone App
(Maribeth Batcha, Tyler Meier, Sunyoung Lee, Daniel Pritchard, Chad Post)
Lake Michigan, Hilton Chicago, 8th Floor
Representatives from five leading publishers—Boston Review, Kaya Press, Kenyon Review, One Story, Open Letter—discuss their experiences: the pitfalls, successes, and strategies of publishing digitally.

R142. Ten Years of Literary Politics: Is There Still Room and Interest in the New Marketplace?
(Dennis Johnson, Valerie Merians, Jessa Crispin)
Wiliford C, Hilton Chicago, 3rd Floor
Jessa Crispin, founder of the seminal lit-blog Bookslut, leads a discussion with Melville House founders Valerie Merians and Dennis Johnson on the challenges and importance of publishing political literature in a changing industry. Topics explored include: books of longform cultural and political rhetoric in the age of the Internet, the specific demands of political publishing, and the dedication to activism in the arts.

12-1:15

R153. Writing the American West
(D. Seth Horton, Antonya Nelson, Toni Jensen, K. L. Cook, Claire Vaye Watkins)
Continental B, Hilton Chicago, Lobby Level
Best of the West: New Stories from the Wide Side of the Missouri is an annual anthology of exceptional short fiction rooted in the western United States. Four award-winning contributors gather to read from their recently anthologized work. They will be introduced by D. Seth Horton, the series co-editor

R159. A Novel Problem: Moving from Story to Book in the MFA Program
(Cathy Day, David Haynes, Patricia Henley, Sheila O’Connor, Elizabeth Stuckey-French)
Lake Michigan, Hilton Chicago, 8th Floor
Short stories are often our main pedagogical tools, but the book is the primary unit of literary production. When are apprentice writers ready to write novels, and how do we review them in a workshop setting? How can we create courses and curricula that encourage students to move toward and complete book projects? This panel will explore the challenges of accommodating the novel or the novel-in-stories within the structure of an MFA program.

R164. A Reading from the Kenyon Review Writers Workshop Instructors
(David Lynn, David Baker, Nancy Zafris, Rebecca McClanahan, Geeta Kothari)
Wiliford A, Hilton Chicago, 3rd Floor
Held annually in the month of June, the Kenyon Review Writers Workshop is a week-long residential writing experience that focuses on the generation of new material in an intimate, creative, and productive setting. This reading by recent faculty offers the opportunity to hear the work of returning instructors and will include an audience guided Q&A about Kenyon’s process-oriented approach.

R170. Villains and Killers and Criminals, Oh My: Representing Evildoers in Literary Fiction
(Reese Okyong Kwon, Matt Bell, Eugene Cross, Brian Evenson, Lauren Groff)
Honoré Ballroom, Palmer House Hilton, Lobby Level
Iago, the Misfit, Milton’s Satan, Judge Holden—some of the most memorable characters in literature have been the evil ones. “The death of Satan was a tragedy / For the imagination,” said Wallace Stevens. If this is true, how can fiction writers profit from the inclusion of villainy, and what might be lost? Join writers as they discuss their experiences incorporating elements of evil into their fiction, providing examples from their own and others’ work.

1:30-2:45

R175. The Tech-Empowered Writer: Embrace New Media, Experiment, and Earn
(Christina Katz, Jane Friedman, Seth Harwood, Robert Lee Brewer)
Boulevard Room A,B,C, Hilton Chicago, 2nd Floor
What can a professor, a journalist, a novelist, and a poet teach you about new media? Using real-life examples from our own experience and that of other tech-savvy writers, we’ll construct a composite of how working writers use technology to invest in their careers, experiment and launch new works, and grow their income opportunities. Whether you need a day job, a part-time job, or just enough gigs to pay a few bills, there have never been so many ways for tech-savvy writers to earn.

R180. East and West: Creative Nonfiction and the Possibility of Post-Orientalist Travel Writing
(Joshua Schriftman, Faith Adiele, Fred D’Aguiar, Elizabeth Kadetsky, Oona Patrick)
Joliet, Hilton Chicago, 3rd Floor
New travel writing too often builds on old notions of race. Developing cultures get reduced to romantic piquancy, and national identities become exotic foils to Western quests for identity: find prayer in one nation; food in another; love in a third. We may know Orientalism when we see it, but does this ultimately help us as writers to avoid it? How can Westerners writing on Eastern experiences use the tools of creative nonfiction to write outside of these old imperialist patterns?

R187. Houghton Mifflin Harcourt Reading
(Peter Mountford, Alexander Chee, Bruce Machart, Dean Bakopoulos)
Waldorf, Hilton Chicago, 3rd Floor
A reading by four writers who have had books published in 2011 by one of the most esteemed publishing houses in the United States, Houghton Mifflin Harcourt. The authors will read from their diverse work and discuss the challenges and benefits of publishing literary fiction with a large publishing house and the changing landscape for emerging novelists.

R191. Keeping a Debut Book Alive
(Justin Taylor, Heidi Durrow, Marie Mockett, Joanna Smith Rakoff, Dylan Landis)
Crystal Room, Palmer House Hilton, 3rd Floor
What happens once a publisher says yes? First, champagne—then the author’s hard work starts. In this economy, relying solely on an in-house publicist, especially for a novel or story collection, can hurt a new book from a little-known writer. Four emerging authors reveal how they generated their own buzz. They discuss publicists, websites, mailing lists, social networking, book festivals, blogging, the art of coaxing people to readings, the legendary book tour—and who really pays for it all.

R193. The Bookstore Is Not Your Best Friend: Effective Small Press Marketing Strategies
(Colleen McKee, C.J. Kearns, Erin Wiles, Behnam Riahi, Winnie Sullivan)
Grand Ballroom, Palmer House Hilton, 4th Floor
Many publishers and authors starting out mistakenly assume that the first (or even only) places they should market their books and journals to are bookstores. While bookstores should be their friends—and often are—they are not necessarily their best friends. In this panel, publishers and PR people from young yet successful small presses discuss alternative venues for readings and book sales, from anarchist bakeries to punk bars, galleries to outdoor fairs, burlesque nights to feminist groups.

R195. Beyond Pulp—The Futuristic and Fantastic as Literary Fiction
(Anjali Sachdeva, Victoria Blake, Kevin Brockmeier, Brian Evenson, Matthew Williamson)
Red Lacquer Room, Palmer House Hilton, 4th Floor
This panel examines the role of science fiction, horror, and fantasy writing in the world of serious literature. Literary journals’ submission guidelines often include the phrase “no genre fiction,” but these genres include talented writers who wield all the tools of literary fiction. Why are fantasy and sci-fi so often considered trivial? How do publishers separate literary genre writing from pulp fiction? The panel will discuss how literary genre writing is promoted, written, and published.

3-4:15

R208. Periodical Wisdom: Advising Student-Run Lit Mags
(Jay Baron Nicorvo, Jennifer Acker, Don Lee)
Lake Michigan, Hilton Chicago, 8th Floor
Current faculty advisors and publishers of literary magazines discuss the ins and outs of directing a student-run publication.

R212. There Will Be Blood: Writing Violence in Fiction
(Alexi Zentner, Antonya Nelson, Benjamin Percy, Alan Heathcock)
Waldorf, Hilton Chicago, 3rd Floor
As writers, we are often told to kill our darlings and to leave blood on the page. But what if we really mean it? Four writers talk about when, why, and how to introduce violence into fiction, how to choreograph a moment of physical savagery, and walking the line between too little and too much bloodshed.

R215. Points of View/Angles of Approach
(Peter Turchi, Robert Boswell, C.J. Hribal, Susan Neville)
Wiliford C, Hilton Chicago, 3rd Floor
Point of view is one of the most complex of the basic elements of fiction, with far more variables and possibilities than general discussions typically acknowledge. The writers and teachers on this panel will discuss “Deep Point of View: what we don’t talk about when we talk about point of view”; “The Reliably Unreliable Consciousness”; “First Person: From I to IIIIII”; and “Don’t Be So Sure: Interrogating the First-Person Narrator.”

R218. The Geometry of the Novel: Making “Shapelier” Fiction
(Peter Grandbois, Debra Di Blasi, Michael Martone, Lance Olsen)
Grand Ballroom, Palmer House Hilton, 4th Floor
While Jerome Stern’s classic Making Shapely Fiction focuses on alternative narrative forms, most of the shapes are actually variations of the Freytag pyramid, for example, his “Journey,” “Visitor,” “Bear at the Door,” and “Aha” shapes. This panel seeks to expand Stern’s premise in order to explore not only the power alternative shapes offer in driving longer, book-length narratives, but also the aesthetic beauty of geometries that work with a story, not against it.

R221. What about Blog?: How Blogging Can Propel Your Career and Polish Your Craft
(Sarah Klenakis, Turi Fesler, Claire Bidwell Smith, Rachel Vogel, Caitlin Leffel)
State Ballroom, Palmer House Hilton, 4th Floor
Sure, lots of writers blog, but what can you do to actually capitalize from your daily posts? A writer, editor, literary agent, and blog sponsor come together to discuss what appeals to them when reading online, how you can better attract followers, make money from your blogging, and possibly even find a job. From sharing success stories to blogging “don’ts,” this panel will clarify the murky waters that surround online writing.

4:30-5:45

R233. The Renaissance of Midwestern Literature
(Jason Lee Brown, Bonnie Jo Campbell, Dan Chaon, Mark Wisniewski, Rebecca Makkai)
Lake Ontario, Hilton Chicago, 8th Floor
There is no doubt that midwestern literature exists, but how do we define and support its eccentricities and its coexisting relationship with other regional literature? Contributors to the new anthology New Stories from the Midwest read excerpts of their work and comment on the burgeoning renaissance of midwestern literature.

R236. What’s Wrong with the Whole Truth?
(Susan Resnick, Philip Gerard, Peter Trachtenberg, Paige Williams, Rebecca Skloot)
Waldorf, Hilton Chicago, 3rd Floor
Many writers feel comfortable molding the truth to create a more satisfying story, yet still calling their piece nonfiction as long as the emotional core and basic frame of the work remain true. Not the writers on this panel. These authors, journalists, and nonfiction professors will explore the philosophy of factual versus emotional honesty and discuss how to achieve both—beautiful and moving nonfiction writing that is 100% true.

R238. Opening the Circle: Connecting Workshop Pedagogy and Public Audiences
(Sarah Harris, Tim Mayers, Dale Rigby, Drew Krewer)
Wiliford B, Hilton Chicago, 3rd Floor
The CW workshop has been often critiqued, but seldom clearly defined. We argue that the workshop is a valuable space for openness, collaboration, and creativity, and these pedagogical aims can be achieved when the circle of the workshop is opened to include real-world audiences. Presenters will describe current methods of instruction used in the workshop and present attendees with a variety of workshop methods that allow students working in various genres to connect their work with audiences.

R239. Poetry Reading for Beauty is a Verb: New Poetry of Disability
(Jim Ferris, Cecil Giscombe, Stephen Kuusisto, Laurie Clements Lambeth, Ellen McGrath Smith)
Wiliford C, Hilton Chicago, 3rd Floor
A reading by poets featured in the new anthology Beauty is a Verb: New Poetry of Disability. The book originated from a panel of the same name presented at the 2010 AWP conference in Denver. Following the panel, presenters Jennifer Bartlett, Sheila Black, and Michael Northen came together to develop the anthology.

R244. The Way the Wind Blows: Trends in Contemporary Short Fiction
(Todd James Pierce, Steve Yarbrough, Kevin Moffett, M.M.M. Hayes, Darlin’ Neal)
Red Lacquer Room, Palmer House Hilton, 4th Floor
In this panel, five noted short-story authors identify trends in contemporary short fiction. From the research-based stories of Andrea Barrett and Jim Shepherd to the sardonic explorations of Stacey Richter and George Saunders, this discussion will focus on how the form of the short story has evolved over the past ten years, with an eye toward understanding where the form is headed.

7:00-8:15

A Reception Hosted by Chatham University
Private Dining Room 4, Hilton Chicago Hotel 3rd Floor
Join students and faculty from Chatham University for a reception.

Friday
9:00-10:15

F112. The Fiction Chapbook—A Sleeper Form Wakes Up
(Nicole Louise Reid, Eric Lorberer, Diane Goettel, Kevin Sampsell, Abigail Beckel)
Marquette, Hilton Chicago, 3rd Floor
In recent years, the literary marketplace has seen an upswing in publication of fiction manuscripts as chapbooks—a format associated mainly with poetry. A chapbook is the perfect medium for a short story or a clutch of short-shorts, and is capable of bringing an intimacy and aesthetic appeal unattainable by full-length books. Editors from Black Lawrence Press, Future Tense Books, Rain Taxi, RopeWalk Press, and Rose Metal Press, will discuss a range of experiences with this exciting format.

F116. Thirty Years of Award-Winning Short Fiction: The Drue Heinz Literature Prize
(Shannon Cain, Adria Bernardi, Tina May Hall, Edith Pearlman)
Wiliford C, Hilton Chicago, 3rd Floor
The University of Pittsburgh Press celebrates thirty years of the Drue Heinz Literature Prize for short fiction, featuring a panel of four DHLP winners. The authors will read from their work and discuss how they discovered their literary talent, what inspires their writing, what excites them about the writing process, and how their work fits into their daily routine. The audience is invited to participate in a Q&A, and the authors will sell and sign copies of their books following the event.

F119. Literature and the Internet in 2012
(Roxane Gay, Stephen Elliott, Blake Butler, James Yeh)
Grand Ballroom, Palmer House Hilton, 4th Floor
The literary editors of four leading web magazines—HTMLGiant, the Rumpus, PANK, and the Faster Times—offer a roundtable discussion about how the Internet is changing literature and literary publishing in the 21st century.

10:30-11:45

F138. Apocalypse Now: A Multi-Genre Reading of Apocalyptic Literature
(Brian Barker, T.R. Hummer, Pinckney Benedict, Judy Jordan, Kevin Brockmeier)
Waldorf, Hilton Chicago, 3rd Floor
Earthquakes, global warming, peak oil, and giant, man-eating ants: every generation has its version of the apocalypse and an abundance of writers who write about it. In recent years, the end of the world has become the subject for a number of literary writers, and a new genre of literature is emerging. Five award-winning poets and novelists read from their apocalyptic literature, examining how their work has been influenced by recent events and by the sense of impending doom we humans share.

F145. The Hollywood Stint: Prose Writers and Writing for the Screen
(Andrew Scott, Douglas Light, Tom Chiarella, John McNally, Owen King)
Red Lacquer Room, Palmer House Hilton, 4th Floor
Writing for Hollywood has long appealed to prose stylists such as Dorothy Parker, F. Scott Fitzgerald, William Faulkner, and many contemporary writers. These panelists will discuss writing across genres, what’s required to write for the screen, how their fiction writing skills aid or hinder their attempts to please Hollywood, their dealings with producers, studios, and television networks, and the changing perceptions about screenwriting within creative writing programs.

F147. Home and Away: The Influence of Travel on Writing
(Stephan Clark, Sabina Murray, Jeff Parker, Kyle Minor, Jensen Beach)
Wabash Room, Palmer House Hilton, 3rd Floor
Every writer works alone, but some go to great distances to do so. This panel brings together five writers who have traveled extensively—to Australia, Haiti, Hungary, the Philippines, Russia, Sweden, and Ukraine—to discuss how travel and living abroad have enriched their fiction and nonfiction, allowing them to tell stories they otherwise would not have known and, paradoxically, better write about their own culture.

12:00-1:15

F149. Ghostwriting the Eulogy: How to Survive and Make Your Name beyond the Academy with a Degree in Creative Writing
(Andrew McFadyen-Ketchum, Kim Addonizio, Dana Gioia, Maggie Dietz, Simone Muench)
Boulevard Room A,B,C, Hilton Chicago, 2nd Floor
With the expansion of programs in creative writing, more and more degreed creative writers are overwhelming the academic job market, causing many of us to seek different ways to make a buck while continuing to write. Ghostwriting, editing, independent scholarship, running a workshop, writing for TV: you name it and the five poets and novelists on this panel have done it. They will share with us the creative ways they’ve found to make a living and some tricks they’ve learned along the way.

F153. A Reading and Conversation with Jaimy Gordon and Rebecca Skloot
(Jaimy Gordon, Rebecca Skloot, Donna Seaman)
Grand Ballroom, Hilton Chicago, 2nd Floor
A reading and conversation by best-selling authors Jaimy Gordon and Rebecca Skloot. The conversation will be moderated by critic and editor Donna Seaman.

F154. Killer Verse: Poems of Murder and Mayhem
(Harold Schechter, Cornelius Eady, Lynn Emanuel, Patricia Smith, Brian Turner)
International Ballroom South, Hilton Chicago, 2nd Floor
What are the moral implications of writing about violence? Where is the line between portraying violence and exploiting it? The danger of writing about violence is that we might wind up aestheticizing it. If there is a difference between sensationalism and truth, when do we put down the pen and do something to help the victims? Or is writing about violence a form of action, an effective way of addressing the problem? Panelists will address these questions and more.

F156. Measuring Creativity: What Do Grades Have to Do with Artistry?
(Cass Dalglish, Heather Gibbons, Kate Green, Ellen McGrath Smith, Cary Waterman)
Lake Erie, Hilton Chicago, 8th Floor
Creative writing teachers constantly face the inadequacies of conventional grading as they work in an unconventional field that often defies prescriptive norms. Five faculty members with diverse backgrounds—lecturer, instructor, assistant professor, and professor from community college, private college, and public university settings—will offer meaningful assessment tools for the survival of students and teachers alike, including self-evaluation, scoring machines, grade contracts, and chapbooks.

F160. Works in Progress Mix Tape
(Ken Chen, Nami Mun, Don Lee, Prageeta Sharma)
Marquette, Hilton Chicago, 3rd Floor
Participants read new work and the life behind their literature: private writing rituals, relationships with mentors and peers, favorite books, songs on iTunes repeat and performance-enhancing alcoholic drinks, social media and other procrastination devices. Ask nicely and they’ll talk about writing as Asian Americans when only 5% of the authors reviewed in the New York Times are writers of color. Presented by the Asian American Writers’ Workshop.

F166. Short but Not Too Sweet: Three Emerging Writers Read from Debut Story Collections
(Megan Mayhew-Bergman, Emma Straub, Stuart Nadler)
Crystal Room, Palmer House Hilton, 3rd Floor
Long live the short story! Writers are often discouraged from pursuing short story collections, but this panel will prove they are still viable. Come hear emerging writers read from their debut story collections. The panelists will then engage in an honest, lively, and practical discussion about what it takes to get a short story collection published and open the floor for questions.

1:30-2:45

F178. National Book Critics Circle Celebrates Award-Winning Authors
(Jane Ciabattari, Bonnie Jo Campbell, Jennifer Egan, Jane Smiley, Isabel Wilkerson, Darin Strauss)
Grand Ballroom, Hilton Chicago, 2nd Floor
A reading by Bonnie Jo Campbell (AWP Prize, 2009 National Book Critics Circle Award Finalist in Fiction), Jennifer Egan (2011 National Book Critics Circle and Pulitzer Prize in Fiction), Jane Smiley (1992 National Book Critics Circle Award and Pulitzer Prize in Fiction), Darin Strauss (2011 National Book Critics Circle Award in Fiction), and Isabel Wilkerson (2011 National Book Critics Circle Award in Nonfiction and Pulitzer Prize Winner in Journalism).

F181. Reinventing Realism: The Craft of Alice Munro
(Catherine Brady, Rachel Hall, Kim Aubrey, Michael Byers, Alice LaPlante)
Lake Erie, Hilton Chicago, 8th Floor
Alice Munro has much to teach about the elegant execution of craft fundamentals. She also deserves her due as a daring innovator who’s inexhaustibly curious about the possibilities of form and the conventions of fiction writing. Panel participants will discuss Munro’s use of time in narrative; consider her methods of characterization, including her depiction of thought; and discuss her manipulation of point of view in the service of dynamic plotting.

F182. Let’s Work Together: Pedagogies of Rhetoric in the Creative Writing Class
(Richard Greenfield, Minal Singh, R.J. Lambert, Robert Houghton, EmmaLee Pallai)
Lake Huron, Hilton Chicago, 8th Floor
Exploring the intersection of creative writing and composition, this panel will discuss pedagogy practices where the writing of composition texts integrates creative writing pedagogy with an emphasis on rhetoric. We will also discuss the benefits of utilizing rhetorical analysis as the basis of discussing creative writing texts in workshop as well as informing composition of the creative writing text itself. Each member of the panel will provide assignments or exercises as examples.

F189A. Anytown, USA: Representing Place in Fiction
(Ron Hansen, Ladette Randolph, Eric Goodman, Sherrie Flick, Robert Vivian)
Wiliford C, Hilton Chicago, 3rd Floor
How do we define place in fiction? Does the location matter? How do place and region shape the writing and vise versa? This panel aims to answer the larger question of how to define place while also representing the sometimes misunderstood middle coast, featuring authors whose fiction is set in the Heartland, a place many times more clearly defined by what it is not than by what it is. Each author will share a unique approach to representing place in writing.

F196. Between Song and Story: A Reading from the New Autumn House Nonfiction Anthology
(Sheryl St. Germain, Debra Marquart, Michele Morano, John Price, Jane Fishman)
Wabash Room, Palmer House Hilton, 3rd Floor
Readings and discussion from the newly published Autumn House anthology of essays, Between Song and Story: Essays for the 21st Century. This anthology is the first of its kind to focus on the lyric and formally adventurous essay. Five contributors, including one of the editors, will read and discuss their essays, focusing on formal strategies that challenge the traditional essay form.

3:00-4:15

F208. Will Write for Food: Writers Working Outside Academia
(Chloe Miller, Alison Hicks, Patricia Lewis, Valerie Martinez, August Tarrier)
Lake Michigan, Hilton Chicago, 8th Floor
During the past two years, openings in English departments declined more than 40%. Creative writing tenure-track openings declined more than 30%. At the same time, the demand for writing opportunities is widening, encompassing community-based, travel, and virtual writing communities. Panelists will discuss writing lives outside academia, including entrepreneurial ventures in online teaching and mentoring, editing and coaching services, workshops and retreats, and community engagement projects.

F218. Gender Interrupted: Poetry of the Alternatively Gendered
(Stacey Waite, Joy Ladin, Ely Shipley, Samuel Ace)
Lake Ontario, Hilton Chicago, 8th Floor
This reading features the work of alternatively gendered poets and writers, work that re-imagines and redefines the terrain of gender itself. In this unique and first-of-its-kind reading, the voices of transsexual, transgendered, and intersexed writers make their contribution to the rich and diverse aesthetics and politics of queer writing in the 21st century.

4:30-5:45

F232. Writing Games: Gaming, Digitally, and Creative Writing Pedagogy
(Stuart Moulthrop, Lane Hall, Anne Wysocki, W. Trent Hergenrader, Matthew Trease)
Lake Michigan, Hilton Chicago, 8th Floor
This panel discusses relationships among writing, digitality, games, and the creative writing classroom. Addressing Surrealist parlour games, Oulipian constrained writing techniques, Candyland, Uno, animation, and videogames, panelists consider the possibilities of games and digitality for developing generative writing exercises and helping students understand how textual experimentation fits within the craft of writing.

F238. Chapbook Publishing in the 21st Century
(Genevieve Kaplan, Lucas Southworth, Kristy Bowen, Elizabeth Wilcox, Ander Monson)
Wiliford B, Hilton Chicago, 3rd Floor
Even as print traditions are evolving rapidly, chapbook publishers embrace and promote a somewhat antiquated literary form: the printed chapbook. Chapbook editors and publishers participating in this roundtable will offer perspectives on the business and art of the chapbook, centering their discussion around advantages of the printed chapbook format, aesthetics and innovations in chapbook publishing, and methods for success for new and established chapbook publishing ventures.

F245. Finding the Time—And Money!—to Write
(Angela Veronica Wong, Alexandria Marzano-Lesnevich, Kirstin Chen, Farrah Field, Kim Liao)
State Ballroom, Palmer House Hilton, 4th Floor
All writers struggle with this quandary: either we have time to write and no money, or money and no time. But there are ways you can have both! Get practical advice and aesthetic inspiration from five writers under thirty-five who have all received grants, residencies, and fellowships propelling their careers forward. Especially useful to emerging writers battling the post-MFA slump, all genres (poetry, fiction, nonfiction, scholarly research/writing) and many varieties of funding sources are addressed.

Saturday
9:00-10:15

S103. Connecting with Readers via Your Website and Social Media
(Michele Wolf, Kim Addonizio, Leslie Pietrzyk, Matt Bell, Paul Lisicky)
Boulevard Room A,B,C, Hilton Chicago, 2nd Floor
Having a vibrant, user-friendly Web presence—via your own website (supplementing a publisher’s and/or employer’s page for you), blogging, Facebook, and other social media—has become a key asset for engaging readers and students, being part of the conversation, and expanding interest in your work. Learn how to create an appealing, fun-to-click site that best represents your books and passions, what resources and social media contact that readers most appreciate, and what pitfalls to avoid.

S104. Midwest Gothic: Dark Fiction of the Heartland
(Jodee Stanley, Brian Kornell, Dan Chaon, Cathy Day, Michael Czyzniejewski)
Continental A, Hilton Chicago, Lobby Level
From the stories of Sherwood Anderson to contemporary Midwestern fiction, authors have explored the darkness that lies beneath the placid exterior of an often-dismissed region of America. Five Midwest-based writers and editors will discuss how the prairie landscape and traditionally Midwestern character traits, including politeness, stoicism, and a wariness of the unknown, combine with traditional Gothic literary elements to create a rarely discussed subgenre of fiction, Midwest Gothic.

10:30-11:45

THIS IS WHEN MY PANEL IS, DOPES.

12:00-1:15.

S165. Mine Is Clouds: Revisiting the Life and Work of Richard Brautigan
(Shawn Mitchell, Joe Meno, Sean Lovelace, Theresa Williams)
Empire Ballroom, Palmer House Hilton, Lobby Level
A forefather of flash, a witty poet, and a great American surrealist, Brautigan has influenced artists ranging from Haruki Murakami to Neko Case and from Aimee Bender to Tobias Wolff. But despite having sold millions of books during his lifetime, he remains less known compared to other Beat and cult writers. At this panel contributors to the forthcoming tribute anthology, Mine Is Clouds, will consider Brautigan’s importance today and celebrate his life and legacy with a reading of his work.

1:30-2:45 

S180. Writing Visually: Using Comics in the Writing Classroom
(Anne Panning, Matt Madden, Hillary Chute, Jarod Roselló, Jessica Abel)
Lake Michigan, Hilton Chicago, 8th Floor
Many incorporate reading comics in their classes these days. But how can you use comics to teach writing? On this panel, two teaching cartoonists and three literature and writing professors will discuss ways to introduce the practice of comics into the creative writing classroom and how that can benefit students’ writing—of prose as well as of comics. Approaches include the Bechdel method of writing comics without drawing and using panels to visually activate prose (or poetic) writing.

S183. Ambitious Fiction: Tackling Big Ideas, Lots of Characters, and/or Lush Language
(Lucy Jane Bledsoe, Jane Smiley, Achy Obejas, Allen Gee, Brian Bouldrey)
Waldorf, Hilton Chicago, 3rd Floor
Everyone admires a spare, economical story or novel that moves forward with seemingly little effort. But some stories just can’t be told simply. They may have a large cast of characters. They may involve big, even complicated, ideas. They may call for a lush, rather than frugal, style. What is involved in biting off a big storytelling mouthful? This group of fiction writers will discuss their choices to sometimes write rich, rather than minimalist, fiction.

S189. A Reading Celebrating Twenty-Five Years of Product, the Center for Writers Literary Journal
(Kent Quaney, Michael Knight, Andy Plattner, Mary Miller, Damian Dressick)
Grand Ballroom, Palmer House Hilton, 4th Floor
The Center for Writers at the University of Southern Mississippi has just published the 25th anniversary edition of its student literary journal, Product, and as a celebration of this landmark will present a reading to showcase some of the best writers the program has produced. Noted alumni Michael Knight and Andy Plattner, recent graduate Mary Miller, and current student Damian Dressick will represent the Center for Writers in a reading exemplifying the artistic standard of the program.

S190. Unrequited Love: Renewing Your Vows to the Troublesome Novel
(Elizabeth Brundage, Stewart O’Nan, Jenna Blum, Alice Elliot Dark, Carole DeSanti)
Honoré Ballroom, Palmer House Hilton, Lobby Level
Unpublished novels are like unrequited love affairs, they linger in the hearts and minds of writers for years to come; many of us have one stashed in a drawer. And yet often within the existing work, a new novel can be rescued. This panel will explore strategies of revision, encouraging a fresh perspective, a renewed faith in the text. Other topics will include structural elements such as characterization, pacing, thematic possibilities, and our enduring commitment to the sentences we make.

S192. You + Me = We: Collaborative Authorship as Pedagogical Practice
(Lily Hoang, Sequoia Nagamatsu, EmmaLee Pallai, Adam Crittenden, Kelsie Hahn)
State Ballroom, Palmer House Hilton, 4th Floor
Authors often work together to create scholarly articles, novels, short stories, screenplays, poetry, and beyond. Collaboration allows all parties to parlay their strength to the page, be it research, sentence structure, concept, or more. It also provides a rich learning experience improving not just writing skills, but also interpersonal skills. This panel will discuss ways of incorporating the collaborative model of authorship in the composition and creative classrooms.

3:00-4:15

S206. Orion 30th Anniversary Reading
(Jennifer Sahn, Amy Leach, Aimee Nezhukumatathil, Benjamin Percy, Luis Alberto Urrea)
Waldorf, Hilton Chicago, 3rd Floor
For thirty years, Orion has used literature to bring our relationship with the natural world alive, in the belief that the arts connect people to the world, inspire action, and provide a way of thinking about a better future for people and the planet. Join Orion’s Editor-in-Chief and four of the innovative and exemplary writers who have helped make Orion one of the most respected magazines dedicated to the intersection of literature and the environment.

S215. Men from Venus, Women from Mars: Writing from the Perspective of the Opposite Sex
(Reese Okyong Kwon, Jennine Capó Crucet, Alan Heathcock, Kyle Minor, Kevin Wilson)
State Ballroom, Palmer House Hilton, 4th Floor
The old canard that fiction writers should write what they know would seem to prohibit writing from the point of view of characters of the opposite sex. Meanwhile, some of the most believable and compelling men in literature have been created by women, and vice versa. What is the appeal of writing from the head of an opposite-sex character, and how does one do so credibly? What politics should we consider? Panelists will offer perspectives, tips, and examples of effective embodiment of the other.

4:30-5:45 

S220. Ear Candy: Teaching the Pleasures of Poetic Meter
(Liz Ahl, Jeff Oaks, Annie Finch, Honorée Fanonne Jeffers, Tara Betts)
Continental B, Hilton Chicago, Lobby Level
Rooted in a diversity of aesthetic and pedagogical perspectives, this panel focuses on the teaching and learning of meter: how, when, and why might one teach meter to young poets? Is teaching meter like teaching other elements of poetic craft and technique? Is meter akin to music or language when it comes to learning and teaching? How can we help our students sing out rather than slog through? How might activities like scansion, reading aloud, or imitation, help poets develop an ear for meter?

S223. Poetry Reading: Pitt Poetry Series
(Ed Ochester, Toi Derricotte, Ross Gay, Julia Spicher Kasdorf, David Wojahn)
International Ballroom South, Hilton Chicago, 2nd Floor
Series Editor Ed Ochester will introduce the poets as they read from their new books from the Pitt Poetry Series of the University of Pittsburgh Press.

S225. Home Sweet Home: Short Story Collections and Small Presses
(Caitlin Horrocks, Amina Gautier, Shannon Cain, Adam Schuitema, Kelcey Parker)
Lake Erie, Hilton Chicago, 8th Floor
With trade publishers less willing to take a risk on story collections and agents and editors advising writers to just finish a novel, where can the story writer turn? Five debut authors discuss their experiences with the small, independent, and university presses that are increasingly the most welcoming homes for story collections. They’ll discuss how they found their publishers, what small publishers can (and can’t) offer story authors, and how these presses are helping collections thrive.

S233. The Art of the Short Story Collection
(Mary Rockcastle, Richard Bausch, Laura van den Berg, Tiphanie Yanique, Daniel Libman)
Wiliford C, Hilton Chicago, 3rd Floor
In the successful short story collection, the individual stories must move, delight, and entertain, and the collection as a whole must do so as well. What makes a collection of short stories a satisfying whole? How should it be put together? What should the writer consider when deciding upon content, placement, length, title? How easy or hard is it to sell? Robert Bausch, acknowledged master of the short story form and author of eight collections of short stories, joins three authors of very different, all successful, debut short story collections. Each will talk about his/her process in creating, shaping, and publishing the short story collection.

S236. Why Independent Publishers Matter / Independent Publishers and the Changing Industry
(Michael Miller, Tom Roberge, Jeff Shotts, Laura Howard, Eric Obenouf)
Grand Ballroom, Palmer House Hilton, 4th Floor
Bookforum editor Michael Miller, along with selected editors and publishers from various independent presses, will discuss the changing landscape of the publishing industry and the ongoing rise of independent publishers: why they are leading the way and what this means for the future of the industry as a whole.

Course Sequences

Over the last month or so, I’ve tried really hard to blow up my workshop syllabus. Things were going really well, and I wasn’t motivated out of some fear that I wasn’t getting through to the students. I just wanted to keep things fresh for myself. I realize that you can’t let students graduate with a degree in creative writing without knowing about certain benchmark writers/stories/novels. But I think it’s healthy for teachers to switch up their course sequences so they don’t fall into the trap of making the same tired points about Tim O’Brien or Ray Carver or Joyce Carol Oates or whoever.

This semester, I’m teaching a multi-genre workshop for the first time which I’m really excited about. I’m pretty well versed in creative nonfiction, but I’ve never even taken a poetry class. I’m hoping to learn a lot as the semester goes on, much like last semester when I taught Written Professional Communications. I didn’t know much at the beginning about LinkedIn or CVs or resumes, but by the end I felt pretty comfortable.

Below are the two course sequences I’m using for my two workshop classes. The first is for Intro to Fiction at the University of Pittsburgh, and the second is Advanced Writing Workshop at Chatham University. Usually, I’d include the syllabi, but I’ve discussed them at length in earlier posts. I’ve made some modifications to my workshop syllabus this semester (most having to do with long form writing projects and genre fiction), but the core of the thing is intact. Let me know if you have any suggestions or if you’d like to share your own course sequences. I’m also interested in what other teachers are doing.

Course Sequence

Week One

Wed January 4
Syllabus
Introductions
Justin Taylor “Tetris” HANDOUT

Fri January 6
John Updike “A&P” 3X33
Lorrie Moore “How to Become a Writer” 3X33

Week Two

Mon January 9
Raymond Carver “Cathedral” 3X33
Alissa Nutting “Porn Star” COURSE DOCUMENTS

Wed January 11
Donald Barthelme “The School” 3X33
Etgar Keret “Fatso” COURSE DOCUMENTS
Roxane Gay “The Harder They Come” COURSE DOCUMENTS
Amelia Gray “Hair” COURSE DOCUMENTS

Fri January 13
Emma Straub “Pearls” COURSE DOCUMENTS
George Saunders “CivilWarLand in Bad Decline” 3X33

Week Three

Mon January 16
Class Cancelled Martin Luther King Day

Wed January 18
Joyce Carol Oates “Where Are You Going, Where Have You Been?” 3X33
Barry Hannah “Testimony of Pilot” 3X33

Friday January 20
Breece D’J Pancake “Trilobytes” COURSE DOCUMENTS
Patrick Somerville “The Universe in Miniature in Miniature” COURSE DOCUMENTS

Week Four

Monday January 23
Workshop 1
Workshop 2

Wed January 25
Workshop 3
Workshop 4

Fri January 27
Rick Moody “The Apocalyptic Commentary of Bob Paisner” 3X33

Week Five

Mon January 30
Workshop 5
Workshop 6

Wed February 1
Workshop 7
Workshop 8

Fri February 3
A.M. Homes “The Former First Lady and the Football Hero” COURSE DOCUMENTS

Week Six

Mon February 6
Workshop 9
Workshop 10

Wed February 8
Workshop 11
Workshop 12

Fri February 10
Ethan Canin “The Year of Getting to Know Us” COURSE DOCUMENTS

Week Seven

Mon February 13
Workshop 13
Workshop 14

Wed February 15
Workshop 15
Workshop 16

Fri February 17
Deborah Eisenberg “Twilight of the Superheroes” COURSE DOCUMENTS

Week Eight

Mon February 20
Workshop 17
Workshop 18

Wed February 22
Workshop 19
Brian Oliu “Gradius” COURSE DOCUMENTS
Brian Oliu “Punch-Out!!” COURSE DOCUMENTS
Brian Oliu “Wizards and Warriors” COURSE DOCUMENTS
xTx “Water is Thrown on the Witch” COURSE DOCUMENTS
xTx “Marci is Going to Shoot Up Meth With Her Friend” COURSE DOCUMENTS

Fri February 24
Matt Bell “His Last Great Gift” COURSE DOCUMENTS

Week Nine

Mon February 27
Richard Yates “The Best of Everything” 3X33
Tobias Wolff “Bullet in the Brain” 3X33

Wed February 29
Junot Diaz “Fiesta, 1980” 3X33
Andre Dubus “The Fat Girl” COURSE DOCUMENTS

Friday March 2
Don Lee “The Price of Eggs in China” COURSE DOCUMENTS
James Alan McPherson “Gold Coast” COURSE DOCUMENTS

Week Ten

Spring Break – No Classes

Week Eleven

Mon March 12
Workshop 1
Workshop 2

Wed March 14
Workshop 3
Workshop 4

Fri March 16
Seth Fried “Loeka Discovered” COURSE DOCUMENTS

Week Twelve

Mon March 19
Workshop 5
Workshop 6

Wed March 21
Workshop 7
Workshop 8

Fri March 23
Jonathan Lethem “Super Goat Man” COURSE DOCUMENTS

Week Thirteen

Mon March 26
Workshop 9
Workshop 10

Wed March 28
Workshop 11
Workshop 12

Fri March 30
Scott Snyder “Blue Yodel” COURSE DOCUMENTS

Week Fourteen

Mon April 2
Workshop 13
Workshop 14

Wed April 4
Workshop 15
Workshop 16

Fri April 6
Lorrie Moore “People Like That Are The Only People Here” 3X33

Week Fifteen

Mon April 9
Workshop 17
Workshop 18

Wed April 11
Workshop 19
TBA

Fri April 13
TBA

Week Sixteen

Monday April 16
Fiction Pod

Wednesday April 18
Fiction Pod

Friday April 20
Final Portfolios Due

Course Schedule

Week One

Wed January 4
Syllabus
Introductions
Justin Taylor “Tetris” HANDOUT
Nancy Krygowski “Heaven, As We Know It” The Autumn House Anthology
Writing Exercise (First Lines)

Week Two

Monday January 9
Kim Addonizio “Collapsing Poem/Onset/The Moment” The Autumn House Anthology
Lorrie Moore “How to Become a Writer” E-MAIL
Geoffrey Wolff from The Duke of Deception Modern American Memoirs

Wednesday January 11
Sheryl St. Germain “Addiction/Sestina for the Beloved/Bread Pudding with Whiskey Sauce” The Autumn House Anthology
John Updike “A&P” On Writing Short Stories
Sarah Vowell “Ike Was a Handsome Man” E-MAIL

Week Three

Monday January 16
Class Cancelled Martin Luther King Day

Wednesday January 18
Billy Collins “Consolation/Taking Off Emily Dickinson’s Clothes/Workshop” The Autumn House Anthology
Flash Fiction Tutorial Etgar Keret/Roxane Gay/xTx E-MAIL
Chuck Klosterman E-MAIL

Week Four

Monday January 23
Raymond Carver “Cathedral” On Writing Short Stories
Workshop 1

Wednesday January 25
Workshop 2
Workshop 3

Week Five

Monday January 30
Patrick Somerville “The Universe in Miniature in Miniature” E-MAIL
Workshop 4

Wednesday February 1
Workshop 5
Workshop 6

Week Six

Monday February 6
Tom Bissell “Grand Thefts” E-MAIL
Workshop 7

Wednesday February 8
Workshop 8
Workshop 9

Week Seven

Monday February 13
James Baldwin from Notes of a Native Son Modern American Memoirs
Workshop 10

Wednesday February 15
Workshop 11
Workshop 12

Week Eight

Monday February 20
Terrance Hayes “The Same City/Snow for Wallace Stevens/All the Way Live” The Autumn House Anthology
Workshop 13

Wednesday February 22
Workshop 14
Workshop 15

Week Nine

Monday February 27
Jim Daniels “Short-Order Cook/Where Else Can You Go” The Autumn House Anthology
A.M. Homes “The Former First Lady and the Football Hero” E-MAIL
Frank Conroy from Stop Time Modern American Memoirs

Wednesday February 29
Lynn Emmanuel “Dear Final Journey…/The Murder Writer/The Revolution” The Autumn House Anthology
Anton Chekhov “The Lady with the Pet Dog” On Writing Short Stories
Maxine Hong Kingston from The Warrior Woman Modern American Memoirs

Week Ten

Monday March 5
Toi Derricotte “Boy at the Patterson Falls/Bird/Not Forgotten” The Autumn House Anthology
Flannery O’Connor “Everything That Rises Must Converge” On Writing Short Stories
Zora Neale Hurston from Dust Tracks on a Road Modern American Memoirs

Wednesday March 7
Class Cancelled Spring Break

Week Eleven

Monday March 12
Class Cancelled Spring Break

Wednesday March 14
Workshop 1
Workshop 2

Week Twelve

Monday March 19
Alissa Nutting “Porn Star” E-MAIL
Workshop 3

Wednesday March 21
Workshop 4
Workshop 5

Week Thirteen

Monday March 26
Tobias Wolff “Bullet in the Brain” On Writing Short Stories
Workshop 6

Wednesday March 28
Workshop 7
Workshop 8

Week Fourteen

Monday April 2
Malcolm X from The Autobiography of Malcolm X Modern American Memoirs
Workshop 9

Wednesday April 4
Workshop 10
Workshop 11

Week Fifteen

Monday April 9
Workshop 12
Workshop 13

Wednesday April 11
Workshop 14
Workshop 15

Week Sixteen

Monday April 16
Writing Pod

Wednesday April 18
Writing Pod

Friday April 20
Final Portfolios Due

Salvatore Pane’s Guide to AWP Part 2: The Off-Site Events

Last time when I discussed AWP, I focused mainly on general pointers and the long list of panels I hoped to attend. What I didn’t cover were the off-site events. Usually, these events are put on by lit journals and have a much more laid back feel than the official AWP panels. They usually take place at night after most of the official AWP events are over, and sometimes they’re even held in bars or during happy hour. Below you’ll find a list of events I find most interesting. It’s clearly not an all-conclusive list, and once again I haven’t covered Saturday as I’ll sadly be on a flight returning to Pittsburgh.

Throughout the Conference

Museum Of Contemporary Art
Location: 1485 Delgany, Denver Co 80202; 303.298.7554
Cost: $5 admission for all attendees and participants in the AWP conference
Website: http://www.mcadenver.org
MCA DENVER is an activator, content provider and immediate research vehicle of culture in the making—a museum without a front door—a place for public engagement. MCA DENVER has five distinct galleries, three spaces for education, multiple sites for special projects/commissioned works and one live art/lecture hall. MCA DENVER excites artists and visitors alike to enter into creative conversations that extend beyond our walls.

A world class museum for five bucks? It’s hard to turn down this one when it’s open to AWP attendees during the entire convention. After 72 hours of straight literary discussion, you may need some type of deviation to recharge your batteries.

Wednesday

4:00PM-8:30PM DoubleCross Press, Lame House Press,and Slash Pine Press Presents A Poetry Marathon
Location: Rackhouse Pub, 208 S. Kalamath St.
Cost: None
Website: http://www.slashpinepress.com/awp/
Whether for a happy hour of local microbrews, a good pub dinner, or the entire four+ hour reading, our presses invite you to the work of over thirty poets. Readers include Abraham Smith, Kate Greenstreet, Malachai Black, John Dermot Woods, Anne Shaw, Jen Tynes, Farrah Field, Gina Myers/Nate Pritts, Matt Hart, Claire Becker, Matt Rasmussen, Brian Oliu, MC Hyland, Nathan Hauke, Dolly Lemke, francine j. harris, among others. 8 minute drive or 20 minutes by light rail + walking.

This one’s a bit of a trek, but I appreciate that it gives people arriving on Wednesday–such as myself–something to do. Plus, the allure of Denver “microbews [and] a good pub dinner” might be too much for me to turn down.

7:00PM-10:00PM AHSAHTA / OMNIDAWN READING
Location: The Magnolia Hotel Ballroom, 17th & Stout (Only 3 blocks from the Colorado Convention Center.)
Cost: No charge for the event.
Please join Ahsahta Press and Omnidawn Publishing for a reading. The readers will be: Christopher Arigo, Susan Briante, Dan Beachy-Quick, Maxine Chernoff & Paul Hoover, Gillian Conoley, Ben Doller, Lisa Fishman, Noah Eli Gordon, Richard Greenfield, Janet Holmes, Hank Lazer, Laura Moriarty, Rusty Morrison, G.E. Patterson, Craig Santos Perez, Bin Ramke, Don Revell, Elizabeth Robinson, Heather Sellers, Heidi Lynn Staples, Michelle Taransky.

This one’s a lot closer to the conference and a great opportunity to catch an event by Ahsahta, one of the major poetry publishers in the country.

7:00PM-9:00PM COUNTERPATH BOOKS / DRUNKEN BOAT / GUERNICA / PERSEA BOOKS / POOL PERFORMANCE
Location: Dikeou Collection, 1615 California St., Suite 515, Denver, CO 80202; 303.623.3001
Website: http://www.dikeoucollection.com
Join five of the most innovative journals and literary publishers showcasing their contributors in multiple genres, including fiction, poetry, creative nonfiction and video installation. Performers include Laird Hunt, Steve Katz, Alexander Chee, Susan Taylor Chehak, Elizabeth Kadetsky, Irina Reyn, Robin Beth Schaer, Dean Rader, Karen Holman, Elizabeth Bradfield and Dylan Landis. Free and open to the public, and only minutes from the conference hotel.

This one’s a no-brainer for me. I love most of the hosts of the event, and Irina Reyn has really been an instrumental help to me as I’ve worked on my book. Plus, Elizabeth Kadetsky–former Pitt faculty–will be reading along with a performance by Peter Yumi, a musician I had the chance to see collaborate with poet Karla Kelsey in Selinsgrove, Pennsylvania. This one should be epic.

8:00PM-11:00PM Cave Canem/Kundiman Reading & Salon
Location: Mercury Cafe, 2199 California Street, Denver, CO 80205; (303) 294-9281
Cost: $3 suggested donation — to benefit Cave Canem & Kundiman (no one turned away for lack of funds)
Website: http://www.facebook.com/event.php?eid=474228325544&ref=ss
Join the Cave Canem & Kundiman Families for a Reading Featuring Toi Derricotte, Sarah Gambito, Cornelius Eady, Oliver de la Paz, Dawn Lundy Martin & Kazim Ali + a salon featuring Cave Canem and Kundiman fellows & family (bring a poem to share!)  Emceed by Ching-In Chen & Tara Betts.

Toi Derricotte is another Pitt faculty member, so if Cave Canem is your thing, definitely check this one out.

Thursday

5:30PM-7:30PM Prairie Schooner “Baby Boomer” Reading
Location: Common Grounds Downtown Coffee, 1550 17th St, Denver, CO
Cost: Free
A group reading by contributors to the special “Boomer” Issue of Prairie Schooner.  Readers include: Hilde Weisert, Robert E. Wood, Harriet Millan, Marilyn Kallet, Paul Lisicky, Maureen Seaton, Stephen Gibson, A.E. Stringer, Sharon Dolin, Julie Kane, Annie Finch, Edward Falco, Michael Waters, Kate Sontag, Robin Becker, Susan Aizenberg, Charles Harper Webb, Ellen Doré Watson, Toi Derricotte, Dorothy Barresi, Donald Morrill, Christopher Howell, Ray Amorosi, Albert Goldbarth, Bill Lavender, and Marianne Boruch.

Who doesn’t love Prairie Schooner? Who doesn’t want another chance to see Toi Derricotte if they missed her the night before? Another great aspect of this event is the time. It’s one of the earliest off-site events on Thursday, so if you just absolutely have to get away from the conference, this one may be your best bet.

7:00PM-8:30PM Born Magazine @ Gypsy House
Location: Gypsy House Café, located at 1279 Marion Street (on the corner of 13th and Marion) Denver, CO 80218
Cost: Free
Born Magazine and the Gypsy House Reading Series present an evening of experimental writer-artist collaborations on Thursday, April 8th from 7–8:30 PM at the Gypsy House Café. Please join us for a screening of Born projects, with readings by Ander Monson, Monica Drake, Esther Lee, Emma Ramey, Keetje Kuipers, and Thomas Crofts.

A free to the public event featuring “experimental writer-artist collaborations”. Could prove very interesting and worthy of your time.

7:00PM FC2 Flash Reading
Location: Dikeou Collection, 1615 California St, Suite 515, Denver, CO 80202
Matt Roberson, Rob Stephenson, Steve Katz, Vanessa Place, Lynn Kilpatrick, Yuriy Tarnawsky, Susan Steinberg, Brian Evenson, Brian Kiteley, Cris Mazza, Debra Di Blasi, Lance Olsen, Jan Ramjerdi, Steve Gutierrez, Lidia Yuknavitch, Jeffrey DeShell, Elisabeth Sheffield

I couldn’t find much information about what exactly FC2 Flash is, but I’m imagining with the number of participants–and some of the familiar names–that it’s some kind of flash fiction reading. A favorite genre of mine, I’ll definitely try and make it to this one. If anyone knows exactly what this is, please leave info in the comments.

7:00PM Northwestern University Press / &NOW Books / Artifice Magazine Reading
Location: The Celtic Tavern, 1801 Blake St, Denver, CO 80202
Cost: None
Website:http://www.artificemag.com/events
Join Northwestern University Press, &Now Books, and Artifice Magazine for an evening of readings. Three imprints at different ages showcase authors writing at the frontier of contemporary literature.

I’m a big fan of Artifice so you can be certain I’ll be checking this one out.

7:30PM DOGZPANK
Location: Forest Room 5
Cost: Free
Website: http://www.pankmagazine.com/pankblog/?p=2080
Short fiction reading comprised of joint DOGZPLOT and PANK contributors: Aaron Burch, Anne Valente, Beth Thomas, Tim Jones-Yelvington, Matt Bell, JA Tyler, Erin Fitzgerald, Molly Gaudry, Kathy Fish, Angi Becker Stevens, Matt Salesses, Pedro Ponce.

Damn is this a packed time slot. I really enjoy DOZPLOT and PANK–I’m doing book reviews for PANK now too–and would love to catch a Matt Bell reading after missing him at Modern Formations in Pittsburgh due to work.

7:30PM-9:30PM Publication Party and Reading
Location: Mercury Cafe, 2199 California Street, Denver
Website: http://www.amazon.com/Its-Not-You-Me-Breakup/dp/1590202821/
Publication party and reading for the anthology It’s Not You, It’s Me: The Poetry of Break Up. Featuring Patricia Smith, Kim Addonizio, Jerry Williams, Angela Ball, Kevin Prufer, Martha Rhodes, and others.

It’s getting worse and worse. Kim Addonizio is easily one of my favorite working poets. This will be my first real chance to catch her read, so I really want to try and make it to this one too. It looks like some serious sacrifices are going to have to be made.

8:00PM-10:00PM A Magazine Party: Colorado Review, The Normal School, Denver Quarterly, The Pinch
Location: Wazee Supper Club, 1600 15th Street
Cost: cash bar and apps
Website: http://www.wazeesupperclub.com
Come celebrate with some of your favorite magazines.

Colorado Review? Denver Quarterly?! Come on 7-9 time slot!

9:30PM TypewriterGirls Poetry Cabaret
Location: Mercury Cafe 2199 California St, Denver CO
Website: http://www.typewritergirls.net
The TypewriterGirls’ Dada-bred performances are collage-work theatre formed from sketch comedy, poetry, music, whiskey games, collaborative writing, burlesque, and a little magic. In essence, they strive to embody the Comte de Lautréamont’s creed “poetry must be made by all” with a play and a dance party. This event will feature some of Denver’s finest poets and performers.

This one is notable because it’s hosted by the TypewriterGirls, a cool little outfit based in Pittsburgh that puts out Weave. Definitely worth your time.

10:30PM-1:00AM Genres and Generations
Location: Dazzle Restaurant and Lounge, 930 Lincoln St, Denver, CO 80203; 303.839.5100
Cost: Free Event- No Passes Required
Website: http://www.dazzlejazz.com
Genres and Generations is featuring Tarpaulin Sky, Fact-Simile, Monkey Puzzle Press, Fast Forward, Bombay Gin, and Zero Ducats. These presses publish genres that span generations of crafting to genres that have yet to be. Please join us for a wonderful evening of literary collaboration.

This one sounds like a good late-night event, and I’m assuming there will be booze , always a plus.

Friday

3:00PM- 4:30PM DENVER QUARTERLY Reading and Publication Celebration
Location: The Dikeou Collection, located in Downtown Denver: The Colorado Building, 1615 California Street (at 16th Street), Suite 515, Denver, CO 80202 (Only a two-block-walk from the Colorado Convention Center.)
Cost: There will be free wine and snacks, and no charge for the event.
Please join the Denver Quarterly and Coach House Press for a reading on Friday, April 9th, from 3-6pm at The Dikeou Collection. Featuring: Dan Beachy-Quick, Julie Carr, Malinda Markham, Martha Ronk, Cole Swensen, Brian Teare

A particularly early event and a chance to catch a Denver Quarterly shindig if you missed the one on Thursday.

4:00PM- 6:00PM failbetter.com’s 10th anniversary
Location: Mercury Cafe, 2199 California Street, Denver
Cost: No cover, cash bar
failbetter.com celebrates its 10th anniversary with a cocktail party and reading, featuring: Sherman ALEXIE, Michael MARTONE, Terese SVOBODA

Uh… did you look at who’s reading?

5:00PM- 7:00PM Black Warrior Review / Blue Hour Press Reading
Location: Mario’s Double Daughter’s Salotto, 1632 Market St, Denver, CO 80202
Cost: Free
Website: http://bwr.ua.edu/ & http://www.bluehourpress.com/
Start off your evening of off-site events at Double Daughter’s (just an eight-block walk or free bus ride), where ten readers will share the work they’ve published in the physical pages of Black Warrior Review and the digital pages of Blue Hour Press: Christopher Cheney, Miriam Cohen, Shanna Compton, Nick Courtright, John Gallaher, James Grinwis, Emily Kendal Frey, Brian Kubarycz, Sabrina Orah Mark, and Alexis Orgera.

A couple things to say about this one. First off, it’s hosted at Mario’s Double Daughter’s Salotto. I can’t even imagine what that is, so needless to say my curiosity is piqued. Secondly, I love, love, love Black Warrior Review. It’s one of my perennial lit journal subscriptions.

7:00PM-10:00PM Creative Nonfiction Launch Party & MFA Program-Off Reading
Location: The Shag Lounge, 830 15th Street, Denver, CO
Cost: FREE
Website: http://www.creativenonfiction.org
After a long day at the conference, come relax with Creative Nonfiction and listen to readings from the finalists and winner of the MFA Program-Off Contest. Off-site event, but only three blocks from the convention center. Free copies of the newly redesigned CNF magazine, plus plenty of cheap drinks for all in attendance.

CNF is a Pitt MFA related publication, so I have to give it some hype here. If you’ve never read the journal, you might as well come out, get some cheap drinks and a free copy of the magazine.

7:30PM-9:30PM Barbed Wire Reading Series
Location: Michelangelo’s Coffee and Wine Bar, 1 Broadway Suite B
Cost: No cover * Half price bottles of wine
The International Reading Series! Come hear the literary work of artists from Denver, the Southwest, Latin America, and the Deep South at the long-running, multi-genre Barbed Wire Reading Series. In 2004, Barbed Wire was birthed from the University of Texas at El Paso bilingual MFA program, where it continues to the present. It spread to the University of Alabama in 2007.  MCed by Denver’s own Trent Hudley, and Kevin Brown of the University of Alabama.
*In keeping with the tradition of the Barbed Wire series in Tuscaloosa, AL, Michelangelo’s will be offering half price bottles of wine especially and exclusively for the  Barbed Wire event.

I don’t know a thing about this event other than the half-priced bottles of wine. That’s all I need to know.

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