Jennifer Lauck's Blog, page 19
December 16, 2011
Annoucements
My first video class is available! Check it out and share the word.
The foundation of our beloved genre of memoir is SCENE.
A scene is a moment in time when something happens to move your story forward. It is active, it is vivid, it is alive. Do you know how to write one of these? Do you know the primary elements of this format?
If no, get ready to learn...
1) ...the definition of a scene
2) why scene is vital to writing memoir
3) how to check yourself against a scene writing recipe card
4) what is the difference between showing & telling
5) how to get to work and write a scene now
45 Minute Class (Video Download) & PDF Handout
Cost: $50.00
The foundation of our beloved genre of memoir is SCENE.
A scene is a moment in time when something happens to move your story forward. It is active, it is vivid, it is alive. Do you know how to write one of these? Do you know the primary elements of this format?
If no, get ready to learn...
1) ...the definition of a scene
2) why scene is vital to writing memoir
3) how to check yourself against a scene writing recipe card
4) what is the difference between showing & telling
5) how to get to work and write a scene now
45 Minute Class (Video Download) & PDF Handout
Cost: $50.00
December 15, 2011
Book Talk: Crazy for the Storm by Norman Ollestad
This week, it's me writing the column Book Talk. Anne and Cloie are busy writing future posts.
From Amazon: The story itself could take your breath away: an 11-year-old boy, the only survivor of a small-plane crash in the San Gabriel Mountains in 1979, makes his way to safety down an icy mountain face in a blizzard, using the skills and determination he learned from his father. But it's the way that Norman Ollestad tells his tale that makes Crazy for the Storm a memoir that will last.
This book was handed to me, in the same way a runner hands off a baton in a relay race. My co-teacher Anne passed it over last month. She hoped it would provide needed inspiration. I was in the midst of coaching a writer who just wasn't getting the message.
After listening to me kvetch, Anne let me borrow her copy of Crazy for the Storm.
I must confess this is not a book I would usually read. I'm not much for the "in your face" testosterone laden memoir. Afterall, what does Ollestad have to do? This story practically tells itself. The monumental tragedy, which happens in a relatively short time frame, is an obvious container. Stay in real time, tell the story and boom—bestseller. Plus it's very masculine and heroic and let's face it—a man's book about a man being a man—well, you've got yourself a no-brain winner. This is America. John Wayne mythology abounds. Women want the Marlboro man to sweep them away. Men want to be that brink-living-brave hero.
Come on.
It's too easy.
But then I started to read.
It wasn't the tragedy that captured me. It wasn't the bigger-than-big father who pushed himself and his son to the edge of human limits and beyond. It wasn't the "do they survive" breath stealing quality either.
It was the writing.
I'm not sure Ollestad wrote this book–something in me suspects a ghostwriter lurks in the shadows–but in the end, who cares? Whoever wrote this book, there is great skill and craft here. Some of the lines took my breath away. And, Ollestad used a brilliant device to tell the story. He worked the front story (the accident and the hours that followed as he alone made his way off the mountain and away from the crash) in tandem with the backstory (a trip to Mexico with his dad which brought the reader up to speed with the life the young boy—pre-crash—was living with his screwed up mother, his abusive step father and his "live else where adventure hungry" dad).
It works because he holds both the front and the back-story very close. He doesn't wander around into every moment of his life with his father pre-crash and he doesn't get sentimental which is something that would be easy to do when commemorating a manly man like his father. Instead Ollestad tells the story straight, stays close to a manageable time frame and never drops us from that time line.
As a memoir teacher, I would encourage all memoir writers to read this book. It's so tight and clean and yes, obvious. But it's the most obvious story line that can help you see your own container for your story. Ollestad (or his ghost writer) teaches us to keep things simple, keep it moving, keep it clear, keep it clean and most of all—keep it on the bone honest.
A valuable lesson for you waits in this book. Get it. Read it. Study it.
From Amazon: The story itself could take your breath away: an 11-year-old boy, the only survivor of a small-plane crash in the San Gabriel Mountains in 1979, makes his way to safety down an icy mountain face in a blizzard, using the skills and determination he learned from his father. But it's the way that Norman Ollestad tells his tale that makes Crazy for the Storm a memoir that will last.
This book was handed to me, in the same way a runner hands off a baton in a relay race. My co-teacher Anne passed it over last month. She hoped it would provide needed inspiration. I was in the midst of coaching a writer who just wasn't getting the message.
After listening to me kvetch, Anne let me borrow her copy of Crazy for the Storm.
I must confess this is not a book I would usually read. I'm not much for the "in your face" testosterone laden memoir. Afterall, what does Ollestad have to do? This story practically tells itself. The monumental tragedy, which happens in a relatively short time frame, is an obvious container. Stay in real time, tell the story and boom—bestseller. Plus it's very masculine and heroic and let's face it—a man's book about a man being a man—well, you've got yourself a no-brain winner. This is America. John Wayne mythology abounds. Women want the Marlboro man to sweep them away. Men want to be that brink-living-brave hero. Come on.
It's too easy.
But then I started to read.
It wasn't the tragedy that captured me. It wasn't the bigger-than-big father who pushed himself and his son to the edge of human limits and beyond. It wasn't the "do they survive" breath stealing quality either.
It was the writing.
I'm not sure Ollestad wrote this book–something in me suspects a ghostwriter lurks in the shadows–but in the end, who cares? Whoever wrote this book, there is great skill and craft here. Some of the lines took my breath away. And, Ollestad used a brilliant device to tell the story. He worked the front story (the accident and the hours that followed as he alone made his way off the mountain and away from the crash) in tandem with the backstory (a trip to Mexico with his dad which brought the reader up to speed with the life the young boy—pre-crash—was living with his screwed up mother, his abusive step father and his "live else where adventure hungry" dad).
It works because he holds both the front and the back-story very close. He doesn't wander around into every moment of his life with his father pre-crash and he doesn't get sentimental which is something that would be easy to do when commemorating a manly man like his father. Instead Ollestad tells the story straight, stays close to a manageable time frame and never drops us from that time line. As a memoir teacher, I would encourage all memoir writers to read this book. It's so tight and clean and yes, obvious. But it's the most obvious story line that can help you see your own container for your story. Ollestad (or his ghost writer) teaches us to keep things simple, keep it moving, keep it clear, keep it clean and most of all—keep it on the bone honest.
A valuable lesson for you waits in this book. Get it. Read it. Study it.
December 12, 2011
Writing Tip #13: Be Clear/Be Real/Connect
Great writing is clear writing. Clear writing isn't fancy or even that "smart" but the intelligence of well done writing becomes obvious when we read it and more obvious when we attempt to write that way ourselves. Writing in the clearest way possible is hard. When a writer nails that clarity, a direct and penetration connection is made with the reader.
Here are a few examples of clear writing that connects.
The girl next to me on the Portland city bus is bone thin and has mouse brown hair. Her crooked horned rimmed glasses—the temple on my side held together with oily Scotch tape—hang at the end of her nose. The coat she's wearing is two sizes two big, three sizes, so she's rolled the sleeves halfway up her arm's and she's using ragged fingernails to pick an exposed knob of wrist. I'm guessing she's sixteen year old, give or take a year and I know she's coming off a drunk. Either that or a bad high. She's got sallow skin, half shut eyes, hunched shoulders—but mostly it's her smell. When I lowered myself onto the vinyl seat next to her, I got the first whiff, the air around her so pungent it tasted of drugs and booze and smokes and daze. The dried-urine, state-ashtray stench of a binge.
I turn away and glance around the crowded bus. Is anyone else troubled, disgusted even, by this girl, this child, and her obvious downfall?
~ From the memoir Live Through This by Debra Gwartney
Do not set foot in my office. That's Dad's rule. But the phone'd run twenty-five times. Normal people give up after ten or eleven, unless it's a matter of life or death. Don't they? Dad's got an answering machine like James Garner's in the The Rockford Files with big reels of tape. But he's stopped leaving it switched on recently. Thirty rings, the phone got to. Julia couldn't hear it up in her converted attic 'cause "Don't You Want Me?" by Human League was thumping out dead loud. Forty rings. Mum couldn't hear it 'cause the washing machine was on berserk cycle and she was hoovering the living room. Fifty rings. That's just not normal. S'pose Dad'd been mangled by a juggernaut on the M5 and the police only had this office number 'cause all his other I.D.'d got incinerated? We could lose our final chance to see our charred father in the terminal ward.
~ From the novel Black Swan Green by David Mitchell
If you really want to hear about it, the first thing you'll probably want to know is where I was born, and what my louse childhood was life, and how my parents were occupied and all before they had me, and all that David Copperfield kind of crap, but I don't; feel like going into it, if you want to know the truth. In the first place, that stuff bores me, and in the second place, my parents would have about two hemorrhages apiece if I told anything pretty personal about them. They're quite touchy about anything like that, especially my father. They're nice and all—I'm not saying that—but they're all touchy as hell.
~ From the novel Catcher in the Rye by J.D. Salinger
I was born with water on the brain.
Okay, so that's not exactly true. I was actually born with too much cerebral spinal fluid inside my skill. But cerebral spinal fluid is just the doctors' fancy way of saying brain grease. And brain grease works inside the lobes like car grease works inside an engine. It keeps things running smooth and fast. But weirdo me, I was born with too much grease inside my skill, and it got all thick and muddy and disgusting, and it only mucked up the works. My thinking and breathing and living engine slowed down and flooded.
My brain was drowning in grease.
But that makes the whole thing sound weirdo and funny, like my brain was a giant French fry, so it seems more serious and poetic and accurate to say, "I was born with water on the brain."
~ From the novel The Absolutely True Diary of a Part -Time Indian by Sherman Alexie
As I wrote these examples, I couldn't help make note that three are novels and one memoir. "Why did I do that?" I wondered. The most obvious answer is that these were the books by my bed and what I grabbed on my way to write this post. But I also picked this collection of examples because they are good. Here we have, in each example, clear writing that makes a connection.
Alexie's narrator is a young kid who went through brain surgery but lived to tell the tale and the reader is assured—right away—that there is one heck of a story being unfolded by the facts of this boys birth.
Gwartney, in her memoir, tells the story of being on the bus with a stranger—a young stranger—and we are being told that this is a story about her feelings, observations and situation in relationship to young people and abuse. She hasn't told us—in this example—that two of her own daughters were this young girl and that she had to survive (as the mother) a stunning long run of blows as her girls fell into that world of drugs, drink and street living, but all this is coming soon enough. The concrete example of the girl on the bus, the stranger, lets us get close but remain distant in the way the narrator wants to be distanced as well. We feel her conflict in being next to the young girl, we are connected.
In Black Swan Green and Catcher, both books told from the perspective of a young male narrator who uses a good deal of slang and casual conversational tone, we are drawn into the way a kid thinks and talks. We are part of their world—right away—by the fact of their word choices. They are not pretending to be someone they are not. They are just being kids and they are also showing through the word choices and the focus on the adults in their life, that they are young. Both of these books are considered coming of age novels. In fact, Black Swan is called the modern Catcher in the Rye and we see why. This narrator in Black Swan has the same youth, the same slang and the same focus. But he also has that clear speak of a narrator who is going to take you somewhere and is fully in charge of the story.
And that's another reason to write with total clarity. You, as the writer, initially have to surrender most of your control in order to follow the mystery of where the story wants to take you (memoir or fiction alike) but once you know what you are going to write about, once you have your beginning, middle, end in a drafted form—it's time to let your craft take over and that's when you polish, shine and work your writing to be this clear. Crystal clear.
WRITING PROMPT: Now you try. Talk to me. Write a paragraph that is clear but also casual. Work on a conversational tone—relaxed—but also moving forward toward a goal. Let your narrator take me somewhere.
Here is my example (this took me about two minutes to write)
So Jennifer Lauck, this fancy memoir writer who has this crazy blog called "Prolifically Raw," says, "write me a clear and conversational paragraph. Go!"
It's a Tuesday, early in the morning and I'm at my desk at Sell It Fast Reality. I'm supposed to be typing up a form that will sell the Johnson house but I'm not typing. I don't type unless my boss—Mr. Crabby Pants—is on his way toward my desk. When that happens, I am a flurry of "get the job done" activity. Until Crabby Pants gets off the phone and comes my way, I surf the web and do my best to learn from fancy memoir writer Jennifer Lauck. It's my Tuesday habit, my Tuesday routine, my Tuesday lifeline to something better than being a form-typer-upper here at Sell it Fast.
If you want to read reviews of books, CLICK HERE and you'll see some titles I highly recommend for memoir writers.
Here are a few examples of clear writing that connects.
The girl next to me on the Portland city bus is bone thin and has mouse brown hair. Her crooked horned rimmed glasses—the temple on my side held together with oily Scotch tape—hang at the end of her nose. The coat she's wearing is two sizes two big, three sizes, so she's rolled the sleeves halfway up her arm's and she's using ragged fingernails to pick an exposed knob of wrist. I'm guessing she's sixteen year old, give or take a year and I know she's coming off a drunk. Either that or a bad high. She's got sallow skin, half shut eyes, hunched shoulders—but mostly it's her smell. When I lowered myself onto the vinyl seat next to her, I got the first whiff, the air around her so pungent it tasted of drugs and booze and smokes and daze. The dried-urine, state-ashtray stench of a binge. I turn away and glance around the crowded bus. Is anyone else troubled, disgusted even, by this girl, this child, and her obvious downfall?
~ From the memoir Live Through This by Debra Gwartney
Do not set foot in my office. That's Dad's rule. But the phone'd run twenty-five times. Normal people give up after ten or eleven, unless it's a matter of life or death. Don't they? Dad's got an answering machine like James Garner's in the The Rockford Files with big reels of tape. But he's stopped leaving it switched on recently. Thirty rings, the phone got to. Julia couldn't hear it up in her converted attic 'cause "Don't You Want Me?" by Human League was thumping out dead loud. Forty rings. Mum couldn't hear it 'cause the washing machine was on berserk cycle and she was hoovering the living room. Fifty rings. That's just not normal. S'pose Dad'd been mangled by a juggernaut on the M5 and the police only had this office number 'cause all his other I.D.'d got incinerated? We could lose our final chance to see our charred father in the terminal ward. ~ From the novel Black Swan Green by David Mitchell
If you really want to hear about it, the first thing you'll probably want to know is where I was born, and what my louse childhood was life, and how my parents were occupied and all before they had me, and all that David Copperfield kind of crap, but I don't; feel like going into it, if you want to know the truth. In the first place, that stuff bores me, and in the second place, my parents would have about two hemorrhages apiece if I told anything pretty personal about them. They're quite touchy about anything like that, especially my father. They're nice and all—I'm not saying that—but they're all touchy as hell.~ From the novel Catcher in the Rye by J.D. Salinger
I was born with water on the brain. Okay, so that's not exactly true. I was actually born with too much cerebral spinal fluid inside my skill. But cerebral spinal fluid is just the doctors' fancy way of saying brain grease. And brain grease works inside the lobes like car grease works inside an engine. It keeps things running smooth and fast. But weirdo me, I was born with too much grease inside my skill, and it got all thick and muddy and disgusting, and it only mucked up the works. My thinking and breathing and living engine slowed down and flooded.
My brain was drowning in grease.
But that makes the whole thing sound weirdo and funny, like my brain was a giant French fry, so it seems more serious and poetic and accurate to say, "I was born with water on the brain."
~ From the novel The Absolutely True Diary of a Part -Time Indian by Sherman Alexie
As I wrote these examples, I couldn't help make note that three are novels and one memoir. "Why did I do that?" I wondered. The most obvious answer is that these were the books by my bed and what I grabbed on my way to write this post. But I also picked this collection of examples because they are good. Here we have, in each example, clear writing that makes a connection.
Alexie's narrator is a young kid who went through brain surgery but lived to tell the tale and the reader is assured—right away—that there is one heck of a story being unfolded by the facts of this boys birth.
Gwartney, in her memoir, tells the story of being on the bus with a stranger—a young stranger—and we are being told that this is a story about her feelings, observations and situation in relationship to young people and abuse. She hasn't told us—in this example—that two of her own daughters were this young girl and that she had to survive (as the mother) a stunning long run of blows as her girls fell into that world of drugs, drink and street living, but all this is coming soon enough. The concrete example of the girl on the bus, the stranger, lets us get close but remain distant in the way the narrator wants to be distanced as well. We feel her conflict in being next to the young girl, we are connected.
In Black Swan Green and Catcher, both books told from the perspective of a young male narrator who uses a good deal of slang and casual conversational tone, we are drawn into the way a kid thinks and talks. We are part of their world—right away—by the fact of their word choices. They are not pretending to be someone they are not. They are just being kids and they are also showing through the word choices and the focus on the adults in their life, that they are young. Both of these books are considered coming of age novels. In fact, Black Swan is called the modern Catcher in the Rye and we see why. This narrator in Black Swan has the same youth, the same slang and the same focus. But he also has that clear speak of a narrator who is going to take you somewhere and is fully in charge of the story.
And that's another reason to write with total clarity. You, as the writer, initially have to surrender most of your control in order to follow the mystery of where the story wants to take you (memoir or fiction alike) but once you know what you are going to write about, once you have your beginning, middle, end in a drafted form—it's time to let your craft take over and that's when you polish, shine and work your writing to be this clear. Crystal clear.
WRITING PROMPT: Now you try. Talk to me. Write a paragraph that is clear but also casual. Work on a conversational tone—relaxed—but also moving forward toward a goal. Let your narrator take me somewhere.
Here is my example (this took me about two minutes to write)
So Jennifer Lauck, this fancy memoir writer who has this crazy blog called "Prolifically Raw," says, "write me a clear and conversational paragraph. Go!"
It's a Tuesday, early in the morning and I'm at my desk at Sell It Fast Reality. I'm supposed to be typing up a form that will sell the Johnson house but I'm not typing. I don't type unless my boss—Mr. Crabby Pants—is on his way toward my desk. When that happens, I am a flurry of "get the job done" activity. Until Crabby Pants gets off the phone and comes my way, I surf the web and do my best to learn from fancy memoir writer Jennifer Lauck. It's my Tuesday habit, my Tuesday routine, my Tuesday lifeline to something better than being a form-typer-upper here at Sell it Fast.
If you want to read reviews of books, CLICK HERE and you'll see some titles I highly recommend for memoir writers.
December 10, 2011
Listen in: 12/8 Teleseminar
I set writing goals. Period. I would never had written and published four books without goals (and had two kids). I'm telling you, this works. Set goals now!
Jacob Gudger, my marketing guy, showed us how:
Go from having a dream to having a strategy.
Deal with fear: "Do it afraid."
Stop wasting time and HOW.
Listen in now:
If you are a subscriber to this site, send me an email and I'll get you your downloadable link! If not, Sign up now.
December 9, 2011
Annoucements
First, and foremost, I want to thank all my students this year. I had a banner teaching year with some of the most lovely and talented people. It was a great year, with terrific students. Second, I was delighted to learn that several (six) of the young people from my Writer's in the School Residency (part of Literary Arts) were placed in the 2011/12 anthology titled No One Carries an Umbrella Here. The title essay Twisted Flower was by my student, Marquisa Sapian and I couldn't have been more thrilled. Another young woman, Jin Mei McMahon won the Glimmer Train Prize for Prose for her essay titled Her Logic. Congratulations Jin Mai. And there were placements for Joel Hwee, Zola Walton, Hana Schiff, Sean Sele (brilliant writing by Sean). I hate to say it but I am a proud mother hen watching all these writers experience the joy of publication. Their essays are stellar too.
Third, the last teleseminar of the year was Thursday, Dec. 8 and it was a great conversation about setting goals. Look for that post on Sunday or go now to THIS LINK and listen in.
Fourth, the new classes are available for registration and it's going to be a great new year. There is a class called Sell It (on how to sell your memoir), a salon style critique circle, a beginner's level craft class and the ongoing and ever popular master class. I'm also teaching a new download class for the Attic Institute...don't miss that.
Finally, the upgraded and fabulous Phase I program is ready. What was a 25 page workbook is now 100+ pages and what was three hours of teaching has been expanded to be five hours. This is the most comprehensive downloading entry level teaching you would hope to get. I've tested this class in two live formats and provided you, the entry level memoirist, with what I think is the richest and most wonderful teaching available.
December 4, 2011
Listen in: 12/1 Teleseminar
It's essential to have support and inspiration when writing a memoir. Our call today gave both. We discussed the emotions that arise when you write and how to distance yourself (or get closer) via the point of view you chose. We also touched on these points:
When do you know your done with your book?
Tips to reach the end of a draft.
How can we best cope while writing memoir?
Here's a sample from the call:
Want to hear the entire call? Please click here, sign up and I'll get you your downloadable link!
December 2, 2011
Announcements: A Survey
[image error]
Thank you for being part of my teaching site where it is my
goal to provide you, the memoir writer, with inspiration,
community and support.
I have enjoyed sharing everything I know about memoir and
now I would like your feedback. Please answer these questions
and either post below or send to me in the form of an email to
jennifer@jenniferlauck.com.
1) What is your biggest frustration in your writing process, right now?
2) In being here, at the site, what has been the most helpful to you?
3) What more can I do to help you on your journey?
Your answers to these questions are a true gift to me so thank you
in advance!
Happy Holiday, Jennifer
goal to provide you, the memoir writer, with inspiration,
community and support.
I have enjoyed sharing everything I know about memoir and
now I would like your feedback. Please answer these questions
and either post below or send to me in the form of an email to
jennifer@jenniferlauck.com.
1) What is your biggest frustration in your writing process, right now?
2) In being here, at the site, what has been the most helpful to you?
3) What more can I do to help you on your journey?
Your answers to these questions are a true gift to me so thank you
in advance!
Happy Holiday, Jennifer
November 29, 2011
Sell It: The Phase III Workshop
There is nothing like this moment in your life. Your book is in a bookstore and on the shelf. This is my fourth book and look at that smile! Is it your turn? If yes, join me for this intensive, five week program that will give you the steps and framework necessary to get your book into the world.
Phase III: Marketing, Selling and Publishing
Learn how to create a market comparison & analysis survey
Discuss the publishing scene in the tech age
Discover how and when to approach literary agents
Learn how to build your platform
and more...
WHEN: January 8, 15, 22, 29, Feb. 4
TIME: 11:30-2:00 P.M.
WHERE: E. Burnside, Portland, OR
COST: $325.00 (15 spots available - spots will go fast)
Students leave with a Workbook & a CD of the class
Sign Up Today
Deposit (non-refunded) $100.00 USD
Remaining Tuition $225.00 USD
Full Tuition $325.00 USD
November 27, 2011
Winter Master Class
"The combined force of Jennifer & Anne, as readers, is a real gift. The depth and
feedback on each week's pages was far more than I ever experienced in a workshop before." ~ Gail Robinson
The Master Class Series is master level teaching with two teachers--myself and the very talented Anne Gudger. We give you two points of view, based on our collective sixty years of writing experience and forty years of teaching experience.
Develop your writing muscle in the areas of scene, point of view, arc, plot, dialogue, setting and detail infusion. Learn the skillful navigation of reflective writing and how to explore memory without being confined or limited. While this is a class geared toward the memoir writer, fiction writers are welcome too. There is prompt based teaching, there are handouts and we workshop two writers each week. There are 18 slots to read so you will surely get your pages worked over!
Details:In Portland, we meet at my suite on Sunday's from 3:00 - 6:00 p.m. For the out of town writer, we stream the class live so you can watch it on your computer from home. When your work is being workshopped, you will be able to call in and speak with us via speakerphone too! Have to miss a class? Don't stress. Recordings of class will be made available too.
COST: $375.00 ($100.00 deposit to hold your spot)
REQUIREMENTS: Contact Jennifer at jennifer@jenniferlauck.com for waiver, instructions & space availability
WINTER SERIES: Jan. 8, 5, 22, 29, Feb. 12, 19, 26, Mar. 4 & 11
(5 spots filled/13 spots available)
Master Class Options
Deposit $100.00 USD
Tuition Balance $275.00 USD
Full Tuition $375.00 USD
What other students say about this class:
"Feedback from Jennifer and Anne is pure gold." ~ Cloie Cohen
"I've been writing for 12 years but the learning curve of this class has been truly remarkable." ~ Sue Holbrook
"I came into this class feeling like I was way out of my league. I came away with so much amazing wisdom and knowledge and it just keeps coming." ~ Amos T
"I have so many new ideas, I can't wait to put them on the page." ~ Ruth Wariner
feedback on each week's pages was far more than I ever experienced in a workshop before." ~ Gail Robinson
The Master Class Series is master level teaching with two teachers--myself and the very talented Anne Gudger. We give you two points of view, based on our collective sixty years of writing experience and forty years of teaching experience. Develop your writing muscle in the areas of scene, point of view, arc, plot, dialogue, setting and detail infusion. Learn the skillful navigation of reflective writing and how to explore memory without being confined or limited. While this is a class geared toward the memoir writer, fiction writers are welcome too. There is prompt based teaching, there are handouts and we workshop two writers each week. There are 18 slots to read so you will surely get your pages worked over!
Details:In Portland, we meet at my suite on Sunday's from 3:00 - 6:00 p.m. For the out of town writer, we stream the class live so you can watch it on your computer from home. When your work is being workshopped, you will be able to call in and speak with us via speakerphone too! Have to miss a class? Don't stress. Recordings of class will be made available too.
COST: $375.00 ($100.00 deposit to hold your spot)
REQUIREMENTS: Contact Jennifer at jennifer@jenniferlauck.com for waiver, instructions & space availability
WINTER SERIES: Jan. 8, 5, 22, 29, Feb. 12, 19, 26, Mar. 4 & 11
(5 spots filled/13 spots available)
Master Class Options
Deposit $100.00 USD
Tuition Balance $275.00 USD
Full Tuition $375.00 USD
What other students say about this class:
"Feedback from Jennifer and Anne is pure gold." ~ Cloie Cohen
"I've been writing for 12 years but the learning curve of this class has been truly remarkable." ~ Sue Holbrook
"I came into this class feeling like I was way out of my league. I came away with so much amazing wisdom and knowledge and it just keeps coming." ~ Amos T
"I have so many new ideas, I can't wait to put them on the page." ~ Ruth Wariner
November 24, 2011
Book Talk: Takes a Break
This holiday season, give yourself the gift of craftsmanship (craftswomanship). Become a better writer!
These special craft classes are short, smart and effective! You'll learn right from the comfort of your home where you will be given teachings, prompts and then sent off to write. You will return, share your work and receive additional teachings. Teachings will be recorded and you will get an MP3 download of the class as well as handouts.
These classes will be via live stream on my private channel on Justin.tv. Enjoy one class or take both! This is your opportunity to give yourself a lasting gift of craft.
Write a Killer Scene in Seven Stages - Dec. 10 & 11
SCHEDULE:
SAT: 10 a.m. - 12 p.m. Live Teaching via Live Streaming
On Your Own: Write, rest, re-write & submit your work to Jennifer via email by 5 p.m. PST
SUN: 10 a.m. - 12 p.m. Live Teaching via Live Streaming
On Your Own: Write, rest, re-write & re-submit your work to Jennifer via email.
(Ten Spots Available - 5 left)
Write a Killer Essay in Eight Stages - Dec. 17 & 18
SCHEDULE:
SAT: 10 a.m. - 12 p.m. Live Teaching via Live Streaming
On Your Own: Write, rest, re-write & submit your work to Jennifer via email by 5 p.m. PST
SUN:10 a.m. - 12 p.m. Live Teaching via Live Streaming
On Your Own: Write, rest, re-write & re-submit your work to Jennifer via email.
(Ten Spots Available - 6 left)
Pricing Options
Scene Writing Only $75.00
Essay Writing Only $75.00
Full Series $125.00
QUESTIONS? Contact me at jennifer@jenniferlauck.com
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