Second Chances 2024 – Craft Deep Dives
December 10, 2024 - January 1, 2025
$59.00
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Welcome to the WLT Second Chances sale! From now until December 31, 2024, all of our Fall 2024 class recordings are available to purchase. For our fiction folks, we’ve got deep dives on suspense, theme, character, and plot. And for those writing creative nonfiction, we’ve got in-depth looks at writing personal essays and using hybrid structures in memoir. Plus, for all genres, we have a class solely dedicated to the rewards and challenges of writing stories centered around grief. These classes are taught by certified experts in these topics, and if you’re hoping to dig deeper, these are the classes for you.
To find our Craft Essentials, click here.
To find our Business of Writing classes, click here.
NOTE: This is not a live class registration. When you register, you’ll be receiving access to previously recorded classes taught for a live audience. Registration includes access to any handouts, readings, and slides the instructor originally shared with students. The videos will be available for viewing immediately upon purchase, and will expire on January 31, 2024.
Descriptions for each class recording can be found below. To purchase access to the recordings, all you need to do is add your preferred tickets to your cart and check out. You’ll then receive an email with a link to the class recordings and any class materials.
“The Personal Essay: Writing a More Connected Self”
with Jenny Tinghui Zhang
Personal essays have often been criticized as “navel gazing,” but how else might you access the personal of the personal essay? By embracing the literal practice of navel gazing and investigating the physical body, students can discover stories previously hidden or reveal new truths about an existing story.
In this class, you’ll learn the critiques and merits of the term “navel gazing,” and the role memoir writing plays in personal authority. You’ll explore the possibilities of the body as an antidote to self-absorption, and will use the body to ground your personal essays, giving them physical stakes, realities, and connection to the world. Finally, you’ll get to explore alternative forms and entry points for your personal essays.
This class is open to both experienced personal essayists and complete beginners. Students should expect readings and discussions of published essays, generative writing prompts, and dedicated in-class writing time.
What students had to say about the class:
- “This is a fantastic class with an excellent teacher. Jenny created a safe space for us to learn, write, and grow. She’s phenomenal.”
- “The teacher was great and the readings were phenomenal!!”
“The Art of Suspense: How to Write Twists and Build Tension”
with Gabino Iglesias
Constant tension leads to constant reading. Learn how to create suspense to keep your readers hooked.
In this class we will work on developing an understanding of how twists and turns operate in fiction, including how and why they fail. We’ll explore the use of red herrings, discuss ways to create tension in a narrative, and look at exercises that will help us create suspense that keeps readers turning the page.
What students had to say about the class:
- “I was nervous to go into this class because I don’t write in this genre, but the information covered was such a great guide to driving suspense that it definitely crosses genres. The instructor clearly has a mastery of the material.”
- “So engaging, so knowledgeable, downright funny. All his passion and the joy in the craft comes through!”
“Theme as Guide: Following the Heart of Your Novel”
with Charlotte Gullick
Identifying the “aboutness” of a project—the heart, stakes, and focus of the work—can help guide and motivate a book-length project.
In this class, writers will have the opportunity to clarify and develop core elements of their book, so that they can proceed with joy, focus, and efficiency. Students will complete in-class exercises, discussions, and readings in order to hone in on and concentrate on the foundational framework for the project. A foundation on which they can build their story and finish strong.
What students had to say about the class:
- “Charlotte’s wisdom and the many exercises that were so useful for me in helping me answer some fundamental questions about my protagonist.”
- “I always think theme is tricky and I liked that Charlotte Gullick admitted as much herself, but I love the examples she shared and the way she taught the class how to find and establish theme in their stories.”
“What Your Character Wants: Uncovering the Driving Force of Your Novel”
with Sherri L. Smith
How many times have you started writing a great story and gotten bogged down in the middle? How often have you chugged up that hill of rising action, only to lose steam?
It doesn’t mean there’s anything wrong with your story idea, but maybe you just haven’t asked the big question yet: what does my protagonist want? Character want is the engine that drives the story forward. Without this key bit of information, you can’t start the journey, throw believable obstacles in the way, build tension, or convince your readers to root for your character’s success. Without a want, it’s hard to know what success even means. In this class, we’ll examine character wants in film and fiction. We’ll also do some hands-on exercises to help you excavate your characters’ deepest desires, so you can rev that engine and get on with the story. Come with your protagonist in mind and be prepared to write.
What students had to say about the class:
- “Fantastic class – Sherri explained concepts clearly and provided useful exercises to help us all get to the heart of what our characters truly want.”
- “I so appreciate her teaching and presentation style. She’s very accessible and direct…she’s clearly amazing at not only her craft but at teaching her craft. I appreciate her generosity.”
“Plot vs Subplot, and Other Narrative Structures”
with John Pipkin
Plot can seem like one of those elusive storytelling elements that resists definition and tempts us to say with exasperation: “I can’t explain it, but I know it when I see it.”
Often, it’s easier to see where and when a plot fails, and far more difficult to recognize why a plot succeeds. In this class, we’ll identify those elements of plotting that help to organize, structure, and make sense of a narrative. We’ll take a deep dive into plot structure, its historical development, how it holds a narrative together in a short story or a novel, how to make use of structure in your own storytelling, and when to abandon traditional plot structures and try something else. Beginning with a brief look at some of the origins of narrative form, we’ll examine a variety of plot structures, including three-act structure, five-act structure, the epistolary form, the hero’s journey, Freytag’s pyramid, story wheels, and other developments. We’ll also look at the difference between main plots and anecdotes, subplots, and digressions, how to use them and when to leave them out. And finally, we’ll discuss non-traditional plotting, and how to find a structure (or non-structure?) that best suits the story that you’re trying to tell.
What students had to say about the class:
- “I was blown away by his showing the various plot outlines. This is what I was looking for! I have learned more from this class than any other I have taken. And I did appreciate his showing how movie plots fit the various formats.”
- “There was so much specific, excellent material on plot structure. I learned so much in only three hours.”
“Unlock Your Memoir with Hybrid Structure”
with Grace Loh Prasad
Are you feeling stuck in the “messy middle” of writing your memoir? Get unstuck by exploring hybrid techniques, such as changing point of view and incorporating speculative elements, in order to access new sources of creativity when you feel overwhelmed by your material.
This class will help writers working on a book-length manuscript infuse their project with a fresh perspective and renewed spark. Students will learn the four common issues in memoir writing and experiment with prompts to get words flowing again. Students will learn from excerpts of hybrid and innovative memoirs and try exercises that experiment with constraints, changing POV, and speculative elements. You’ll see your material in a new way and unlock your storytelling potential in order to keep your project moving forward.
What students had to say about the class:
- “The class was very well organized with an eye towards skills/practices that students could take from the class and apply in their own writing. Grace prepared this class in a really thoughtful way and created a very intentional learning experience.”
- “Grace was very well prepared and shared excellent pre class readings. Her teaching style was organized and concise. She did an excellent job of reviewing each point, Utilizing the readings as examples and illustrations, and giving us writing time.”
“On Writing Grief”
with Diane Zinna
Explore different ways to write about grief that feel both safe and creative.
Are you working on a memoir or personal essay about your own experience with loss? Are you writing a novel that features a character encountering grief?
In this class, we’ll explore different ways into grief stories and also ways to finish them, which can feel hard when grief is ongoing. Our prompts will include hermit crab writing, which can feel healing and strengthening while taking your writing into surprising directions. You’ll leave this class with new strategies for beginning (and ending) your grief stories.
What students had to say about the class:
- “Diane was so incredible — she held the container while still pushing us to dig deep. I felt able to share or not without feeling pressure either way, which let me explore my ideas with ease.”
Before purchasing, please read all policies as noted below and on our Accessibility and Policies page.
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Class & Event Registration Policy
Once a purchase has been made, registrations are not refundable and cannot be transferred to a different class or event. No exceptions will be made. If you purchase a registration and then find you cannot attend the class or event, someone else can attend in your stead. Simply contact us at wlt@writersleague.org and let us know the name and contact information for the person who will be using the registration so that we can update the class or event roster.
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Anti-Harassment Policy
The Writers’ League of Texas is dedicated to providing harassment-free spaces for everyone, regardless of gender identity, sexual orientation, disability, physical appearance, race, age, or religion. We do not tolerate harassment in any form. Violating these rules may result in expulsion from WLT programs without a refund at the discretion of the WLT staff.
Harassment includes, but is not limited to:
- Comments that reinforce social structures of domination (related to gender identity, sexual orientation, disability, physical appearance, race, age, or religion);
- Sexual images not appropriate for the specific subject of the public discussion;
- Deliberate intimidation or stalking;
- Harassing photography or recording;
- Sustained disruption of discussions or other events;
- Unwelcome sexual attention;
- Advocating for, or encouraging, any of the above behavior.
Enforcement
Participants asked to stop any harassing behavior are expected to comply immediately. If a participant engages in harassing behavior, event organizers retain the right to take any actions to keep the event a welcoming environment for all participants. This includes warning the offender or expulsion from the event with no refund. Event organizers may take action to redress anything designed to, or with the clear impact of, disrupting the event or making the environment hostile for any participants. We expect participants to follow these rules during all events and event-related social activities.
Reporting
If someone makes you or anyone else feel unsafe or unwelcome, please report it as soon as possible. Reports can also be made via email at wlt@writersleague.org. We’ll handle any and all reports as respectfully as possible. You won’t be asked to confront anyone, and we won’t tell anyone who you are.
Accessibility Policy
Closed captioning is available for all online classes and special events.
The WLT is committed to making its programs & services accessible to all writers. Please contact us at wlt@writersleague.org or at 512-499-8914 for more information or to discuss accommodations you may need.
Credit Card Transaction Handling Fee Policy
All credit card transactions will incur a 4% handling fee. If you’d prefer to pay by check for membership, a class, or an event, you can use the provided forms on the membership or event pages and mail to: WLT, P.O. Box 14355, Austin, TX, 78704.
Writers’ League of Texas classes and workshops are also funded in part by the Texas Commission on the Arts – Investing in a Creative Texas. For more information, go to www.arts.texas.gov.