The Art of Revision Friday, June 19, 1 - 4 PM
Sunday, June 21, 10 AM - 1 PM
Some things I know. Writers live most of their creative lives somewhere between inspiration and revision. In that sense all work is a work-in-progress, even the so called ‘finished poem.’ Like any work, tools are usually required, and among them is the ability to be ruthless about what in your poem stays and what goes. It doesn’t come easy, for example, scratching out the very line that inspired the poem—the one you’re sweet on. And that’s just the beginning of the art of revision. But even before that can happen, you have to learn a special kind of silence…what the poem has to say to you about what it wants and doesn’t want. It won’t shout. And sometimes you have to wait days, weeks, even years to hear its voice in order to get the poem right. That’s right, your voice, the one that’s unique to you and ever evolving. That’s what this workshop is going to be about. Bring with you your very best poem.
Beating Your Own Best Time:
A Poetry Workshop with Models and Suggestions for Writing Better Poems Saturday, June 20, 9 AM - 12 PM
You want to write better poems? In the sport’s world they call it beating your own best time. It’s a sure bet you won’t do it without good models…something to shoot for, at least that’s been my experience as a poet.So, for this workshop you’ll want to bring a poem or two by another poet(s) that continues to inspire your work. And you’ll also need to bring a couple of your own best poems. The first half of the workshop we’ll devote to these other touchstones—andthat’s what they are—in an effort to reach some consensus about their qualities of craftsmanship and inventiveness. Then we’ll look at your poems. Writing poetry is an arduous and humbling activity. I always honor that. Remember, it’s ‘your own best time,’ not how you stack up against others in class.
Manuscript Workshop in Poetry Friday, June 19, 1 - 4 PM
Sunday, June 21, 10 AM - 1 PM
Saturday, June 20, 1:30 - 4:30 PM
Don’t miss this opportunity to work with one of the finest poets in the country in a traditional manuscript workshop. Oregon Book Award and 2005 National Book Award finalist Vern Rutsala will share his poetic insights and expertise in this intensive workshop that will help participants to generate new work and to critique existing work. No later than June 5, 2009, please submit 2-3 pages of typewritten poetry by email attachment to pdxmws@mountainwriters.com [clearly label as “Rutsala workshop poems”] or mail to Mountain Writers Series, 2804 SE 27th, #2, Portland OR 97202. If you wish to sign up for more than one session, please submit a set of poems for each workshop you choose.
Writing What Matters Friday, June 19, 1 - 4 PM
Saturday, June 20, 9 AM - 12 PM
Using a series of focused prompts, writers will be encouraged to reach for the heart of their work, the emotional truth that drives a strong story. We’ll discuss the shape of the story, and how stories form our understanding of our daily lives. This workshop is suitable as a foundation for writing fiction, as well as memoir and personal essays. It’s designed to be accessible for those just starting out, and challenging for writers with more experience. Come put words on the page, and leave with what might very well be the beginning of a serious literary project.
Realistic Fiction: From Concept to Revision Friday, June 19, 1 - 4 PM
Saturday, June 20, 1:30 - 4:30 PM
Sunday, June 21, 10 AM - 1 PM
The workshop will focus on all aspects of classical “realistic” fiction writing, from initial concept through structural organization to final editing. It’s thus likely to be useful to everyone from beginners to experienced writers. A major focus, for all, will be on the development of characters in evolving scenes (which are the basic building blocks in “realistic” storytelling). E. M. Forster, long ago in Aspects of the Novel, said, “the medium we work in is the reader’s imagination.” Readers make up stories of their own, out of their own experiences, from the material the writer has presented on the page. They use “fictions” as tools that help them make sense of their own lives. In our workshop we’ll be trying to understand the ways in which our stories might be useful to readers as they struggle to find coherence in their own lives. Finally it’s intended that the workshop atmosphere be open and congenial, smart people trying to help one another. No one can teach you an art. They can only help you teach yourself.
Memory and Place Friday, June 19, 1 - 4 PM
Sunday, June 21, 10 AM - 1 PM
Stealing from poet Richard Hugo's theory of "The Triggering Town," we will explore how place incites memory. Such places may range from geographic features like a river or cityscape to a falling down schoolhouse or lilacs in bloom. They include objects we come across accidentally—a softball mitt, a bear in the woods – or a taste, a smell, a song on the radio. Students will be asked to write a description of a found place or object that holds evocative power and to free associate from it—discovering a hidden memory that is crucial to the story of themselves. The class will discuss each other's work, as well as readings from memoirists such as Patricial Hampl to learn how this technique can enhance their work.
Stories for the Screen: The Art of Moving Pictures Saturday, June 20, 9 AM - 12 PM
In this workshop, we will discuss differences between writing fiction or nonfiction and writing stories for film and television. We will touch on theories of structure, exploring ways to tell stories in images, in motion, and dialog. Since screen stories exist in present time they pose problems such as how to bring a character's interior life into focus; how to deal with the back story that informs action; what to do about point of view. To address such problems, the class will create a scene consisting of dialog between two characters in a single setting. They will be asked to write a one page synopsis of a story stemming from that scene, including a one sentence concept statement.
The Stonemason’s Craft: Discovering the Keystone of Your Story Saturday, June 20, 1:30 - 4:30 PM
A keystone is the central stone at the summit of an arch that interlocks all the parts together. This building element is equally important to the architecture of a creative non-fiction essay. In this workshop participants will merge the tenacity of a journalist who reports verifiable facts about a subject, event, or person(s) with the novelist’s attention to lyrical description, dialogue, and story arc, making scenes and characters electric with life. Through short readings, analyzing strong voices in the genre, and several writing exercises, participants will learn how to weave researched information into their stories to make an eminently readable and informative essay.
Special Session: Plant Walk & Nature Writing
Strong Medicine: Writing from Your Home Ground Friday, June 19, 1 - 4 PM
Sunday, June 21, 10 AM - 1 PM
In Earth of Mind, David Orr writes, “I do not know whether it is possible to love the planet or not, but I do know that it is possible to love the places we can see, touch, smell and experience.” Through several writing exercises, short readings, and nature walks in which participants will be introduced to the medicinal plants of the area, we will develop a practical and precise vocabulary of place that students can then apply to their own beloved places, even if the writer’s home ground is the buckled concrete and “weeds” of a city lot. In this nonfiction workshop participants will learn how to move from a detailed field journal to a polished narrative, applying a variety of observational tools, including poetry, science, history, medicine, and personal experience. This workshop will culminate in a medicine-making demonstration, and participants will take home a local plant remedy of their own making. [Additional lab fee of $8 required for materials.]
Students will work closely with the Director (who also serves as poetry and short fiction editor) of Carnegie Mellon University Press to learn many of the facets of producing books. These range from business management and marketing to the elements of editing, book design, and production. We will explore the history and current state of literary publishing in America. Additionally, we will be reviewing (for possible action) manuscripts which have been submitted to the Press. While we will not concentrate on the topic of gaining publication of our own work (but rather upon becoming editors and publishers), insights into achieving publication will be gained in this process.
Some things I know. Writers live most of their creative lives somewhere between inspiration and revision. In that sense all work is a work-in-progress, even the so called ‘finished poem.’ Like any work, tools are usually required, and among them is the ability to be ruthless about what in your poem stays and what goes. It doesn’t come easy, for example, scratching out the very line that inspired the poem—the one you’re sweet on. And that’s just the beginning of the art of revision. But even before that can happen, you have to learn a special kind of silence…what the poem has to say to you about what it wants and doesn’t want. It won’t shout. And sometimes you have to wait days, weeks, even years to hear its voice in order to get the poem right. That’s right, your voice, the one that’s unique to you and ever evolving. That’s what this workshop is going to be about. Bring with you your very best poem. 
Don’t miss this opportunity to work with one of the finest poets in the country in a traditional manuscript workshop. Oregon Book Award and 2005 National Book Award finalist Vern Rutsala will share his poetic insights and expertise in this intensive workshop that will help participants to generate new work and to critique existing work. No later than June 5, 2009, please submit 2-3 pages of typewritten poetry by email attachment to 
Using a series of focused prompts, writers will be encouraged to reach for the heart of their work, the emotional truth that drives a strong story. We’ll discuss the shape of the story, and how stories form our understanding of our daily lives. This workshop is suitable as a foundation for writing fiction, as well as memoir and personal essays. It’s designed to be accessible for those just starting out, and challenging for writers with more experience. Come put words on the page, and leave with what might very well be the beginning of a serious literary project.
The workshop will focus on all aspects of classical “realistic” fiction writing, from initial concept through structural organization to final editing. It’s thus likely to be useful to everyone from beginners to experienced writers. A major focus, for all, will be on the development of characters in evolving scenes (which are the basic building blocks in “realistic” storytelling). E. M. Forster, long ago in Aspects of the Novel, said, “the medium we work in is the reader’s imagination.” Readers make up stories of their own, out of their own experiences, from the material the writer has presented on the page. They use “fictions” as tools that help them make sense of their own lives. In our workshop we’ll be trying to understand the ways in which our stories might be useful to readers as they struggle to find coherence in their own lives. Finally it’s intended that the workshop atmosphere be open and congenial, smart people trying to help one another. No one can teach you an art. They can only help you teach yourself.
Stealing from poet Richard Hugo's theory of "The Triggering Town," we will explore how place incites memory. Such places may range from geographic features like a river or cityscape to a falling down schoolhouse or lilacs in bloom. They include objects we come across accidentally—a softball mitt, a bear in the woods – or a taste, a smell, a song on the radio. Students will be asked to write a description of a found place or object that holds evocative power and to free associate from it—discovering a hidden memory that is crucial to the story of themselves. The class will discuss each other's work, as well as readings from memoirists such as Patricial Hampl to learn how this technique can enhance their work.
A keystone is the central stone at the summit of an arch that interlocks all the parts together. This building element is equally important to the architecture of a creative non-fiction essay. In this workshop participants will merge the tenacity of a journalist who reports verifiable facts about a subject, event, or person(s) with the novelist’s attention to lyrical description, dialogue, and story arc, making scenes and characters electric with life. Through short readings, analyzing strong voices in the genre, and several writing exercises, participants will learn how to weave researched information into their stories to make an eminently readable and informative essay. 
Students will work closely with the Director (who also serves as poetry and short fiction editor) of Carnegie Mellon University Press to learn many of the facets of producing books. These range from business management and marketing to the elements of editing, book design, and production. We will explore the history and current state of literary publishing in America. Additionally, we will be reviewing (for possible action) manuscripts which have been submitted to the Press. While we will not concentrate on the topic of gaining publication of our own work (but rather upon becoming editors and publishers), insights into achieving publication will be gained in this process.
Poetry
Prose
Special Session: Plant Walk & Nature Writing
Special Session: Editing & Publishing