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Workshop Descriptions & Instructors


Faith Adiele
Mary Allen
Kate Aspengren
Thomas Fox Averill
Nancy Barry
Timothy Bascom
Linda Bendorf
Venise Berry
Bruce Bond

Michael Dennis Browne
Susan Taylor Chehak
John Dalton
Thomas K. Dean
Amber Dermont
Kelly Dwyer
Hope Edelman
Josh Emmons
Katie Ford
Patricia Foster
Laura Fraser
Cecile Goding
Douglas Goetsch
Kevin González
John Griesemer
Sands Hall
Christine Hemp
Jim Heynen
Rick Hillis
Charles Holdefer
Richard Jackson
Cheryl Fusco Johnson
Wayne Johnson
Bret Anthony Johnston
Daniel Khalastchi
Zachary Lazar
Carolyn Lieberg
BK Loren
Fritz Mc Donald
James McKean
Gordon Mennenga
Katherine Min
Sharelle Byars Moranville
Michael Morse
Barbara Robinette Moss
Marc Nieson
Shannon Olson
Lon Otto
Juliet Patterson
Anjali Sachdeva
Sarah Saffian
Sam Samuels
Leslie Schwartz
Sandra Scofield
Mary Kay Shanley
Carol Spindel
Karen Subach
Mary Vermillion
Ashley Warlick
Jan Weissmiller
Bart Yates

Jim Heynen

Jim Heynen

From Memory To Art: Poetry, Prose Poems, Short-Short Fiction
One-Week Workshop
July 6–11

The Loaded Conversation: Writing Effective Dialogue
Weekend Workshop
July 12–13

Biography

 

 

 

 

From Memory To Art: Poetry, Prose Poems, Short-Short Fiction
One-Week Workshop
July 6–11

This is a workshop that begins with life experience and explores ways of transforming it through some of the options available to the verbal artist. The moment we give our attention to form¾whether that be the music and repetition we associate with poetry or the structure and narrative progression we associate with fiction what we thought was only a memory can take on new life. We’ll use the writing process itself to discover what in our experiences is calling for our attention as writers, and we’ll explore ways of seeing how memory can feed the imagination rather than limit it. Even as many prominent authors today write in a variety of forms, we’ll try different approaches to our subject as a way of finding which avenue will lead us in a rewarding direction.

The Loaded Conversation: Writing Effective Dialogue
Weekend Workshop
July 12–13

How do they do it—those effective writers of dialogue? Think of Grace Paley, whose characters can say the darnedest memorable things, like “Dying young is a terrible thing, but it saves a lot of time,” or of Lorrie Moore, whose own wit is such a natural fit with her witty characters, or Cormac McCarthy, whose characters’ clipped words can emit horror in the dead space they leave around them. In the best examples we can find in fiction, dialogue is always more than a tape recorder held up to ordinary speech. It is more than character revelation. It is double-edged, triple-edged, energized by paradox and surprise. Good dialogue can be like a fish leaping out of the water or an electrical current coursing through the dry leaves of description. In this weekend, we’ll read some lively examples of dialogue. We’ll practice the art itself in many short exercises—and we’ll have a ball doing it.

Biography
Jim Heynen is a widely published poet, short story, essay and novel writer. He is perhaps best known for the short-shorts and prose poems that appear in his collections featuring young boys (The One Room Schoolhouse, The Boys’ House, You Know What is Right, The Man Who Kept Cigars in his Cap) and more recently in two photography books published by The University of Iowa Press—Harker’s Barns and Sunday Afternoon on the Porch. He has written two young adult novels (Cosmos Coyote and William the Nice and Being Youngest) and one major nonfiction book, One Hundred Over 100, which featured 100 American centenarians. He has frequently been featured on National Public Radio reading his own stories and has been awarded National Endowment for the Arts Fellowships in both poetry and fiction. He lives in St. Paul, Minnesota.


 

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Sponsored by the Division of Continuing Education
Iowa Summer Writing Festival
C215 Seashore Hall
The University of Iowa
Iowa City, IA 52242

Phone 319-335-4160
FAX 319-335-4743
iswfestival@uiowa.edu

Last updated on February 11, 2008