The Writing University podcast features recordings of illuminative craft talks from the renowned writers, novelists, poets, and essayists who present at the Eleventh Hour Lecture Series during the University of Iowa's Iowa Summer Writing Festival.
Writing is neither good nor bad; it’s only finished or unfinished. It’s in the finishing that it becomes fully realized. It may seem to take a different set of skills—even using a different part of…
Good stories are often referred to as spellbinding. Of course they are not witchcraft, but the deft hand of the writer, who concocts a magical combination of the familiar and the unknown, of surpris…
When story is not the main concern, what keeps us reading? How can voice, structure, or research provide a pressurizing frame—and a pleasing shape—for nonfiction material? We will explore these quest…
In this Eleventh Hour, poet Michael Morse will explore how ideas and images work off of and with each other. We’ll consider some poems that use striking examples of imagery, and then we’ll play with …
There’s often a crucial distinction between our whole life experience and the narrower story, or stories, that we create from it. In this Eleventh Hour, Sarah Saffian—a memoirist, teacher, and mental…
When we’re learning to write (the learning that takes a lifetime), it’s smart to focus on high-percentage moves, choices most likely to result in writing that will engage, convince, and move the read…
Susan Taylor Chehak, an ardent and successful writer, blogger, and self-publisher, will discuss the who, what, why, where, when and how of doing it yourself. Susan is the driving force behind Forever…
One of the best ways to participate in, and help define, contemporary literature is to start your own press or literary publication. This may sound intimidating, but you might be surprised to find th…
“It sounds like a simple thing say what you see,” Mark Doty has written. “But try to find the words for the shades of a mottled sassafras leaf or the reflectivity of a bay on an August morning." In t…
Many book editors say that they read the first paragraph of a manuscript, and if they like it, they skip ahead to read some dialogue. If the dialogue is strong, they go back to page one and keep read…
A novelist has it easy—his characters, sprung from his imagination, don’t talk back when they’re not happy with the way they’re depicted on the page. But what if your character is your ex-husband, yo…
In an age of technophilic positivism typified by the TED-talk, the smartphone, and the MOOC, why do we still need a shadowy, cobwebby, grave-y form like the Gothic? What darker truths about contempor…
Over and over I hear my students, my peers, and my own interior voice talk about failure as writers. Often this is linked to an idea of ‘productivity’, and in particular to a perception of others as …
When we write narrative, both sides of our brains ideally work together: the left brain controls linear thinking, logic, and language skills, and the right brain creates context and inserts emotion. …
Sometimes when we look at what we’ve written we realize we’ve created characters who are basically all some version of ourselves. It’s like multiple clones of the writer only with different haircuts.…
From its beginning in the 1960s, literary journalism and its writers typically acknowledged their contextual debt to the traditional questions journalists ask about the five “W's”—the who, what, wher…
What you know is the here and now and past of your own life, your own family, your own travels and some things about your friends. What you don’t know is everything else, which is a lot. What exactly…
One of the biggest challenges, and imperatives, of writing is finding the time—making time—to sit down and do it. It’s something like that moment in the movie Field of Dreams, where a mysterious voic…
“Find your voice”—the most natural thing a writer should do, right? Somewhere inside me is my voice! Yet, the search tends to proceed like a grail quest, only trickier, because ‘voice’ pops up everyw…
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Wed 25 Jun 2014
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