Yearlong in Speculative Fiction: Craft Fundamentals
You’ve always wanted to write that story: the one that folds reality in half, rewrites the rules, and asks the question that won’t leave you alone. In this nine-month generative
You’ve always wanted to write that story: the one that folds reality in half, rewrites the rules, and asks the question that won’t leave you alone. In this nine-month generative
You’ve built a foundation. You’ve written poems. (Maybe you’ve even published a few!) Now you’re ready for what comes next: experimentation, risk, and the wide, strange world of what poetry
You know how a poem moves. Now it’s time to ask what else it can hold—and where it might take you next. In this ten-week course, you’ll deepen your practice
You’ve started to find your voice. Now it’s time to lean in, listen closely—to your lines, your images, your rhythm—and deepen your poetic craft. In this eight-week course, you’ll build
You’ve built worlds, conjured futures, written monsters and miracles—and now you’re ready to go deeper. This yearlong cohort is designed for speculative fiction writers who want to sharpen their craft,
Join us at Hugo House’s Lapis Theater for Industry Talks: Careers in the Literary Arts, an engaging evening that explores the many professional paths within the world of writing, publishing,
“Era verde el silencio, mojada era la luz… / Green was the silence, wet was the light…” – Pablo Neruda, “Sonnet XL,” from 100 Love Sonnets Winter softens the world into muted tones—grays, greens, the dusty blue of early evening.
You sit down to write…and suddenly everything feels foggy. You know the story matters, but you’re not sure what it’s about. You can describe the plot, but not the deeper thread. You feel the momentum
Love poems have never belonged to a single era or a single definition of love. They’ve chronicled stolen glances and ecstatic devotions, marriages arranged and broken, the specific grief of losing a secret love, the astonishment of discovering tenderness in
POV: You’re studying point of view to write better stories.  Most writers think their story problems are about plot or character; but often, the real issue point of view. Who’s