For the late-night scribblers. The Notes app confessionalists. The ones writing poems in the margins of everything else. If you’ve been keeping your poetry close—or are just beginning to fall in love with the form—this class
Works in Progress is Hugo House's open mic series inclusive of diverse formats and storytelling crafts. Read your work—poetry, fiction, essays, memoirs, plays, music, comedy, and more—and connect with our literary
A life is made of many storylines. We move through departures, thresholds, losses, surprises, teachers, trials, and returns—most of it without ever naming the moment. Journey stories endure across cultures
Memoir projects begin in fragments: pages from freewrites, moments we return to, scenes we can’t forget even if we’re not why. If you have memories burning brightly—whether in your head or on the page—and the unmistakable feeling of something larger forming around them, this two-session intensive will help you identify the
This class meets IN PERSON at Hugo House in Capitol Hill. Description can feel old-fashioned in a world overflowing with images—but it’s still one of the most essential tools a nonfiction writer
This class meets IN PERSON at Hugo House in Capitol Hill. Every novelist hits the moment when the story goes quiet: maybe you’ve lost momentum, maybe the middle has turned to mush, or maybe the draft
You know that topic you bring up at every party—urban farming, the science behind workplace burnout, universal basic income, the math behind Magic the Gathering? Most writers never realize that passion contains the bones of a book. So
This class was previously titled “Making Meaning in Memoir.”  Memory can surprise us. Some moments arrive fully formed: morning light through an old window, a clarion voice that rings in your mind. Others hover at the edges: a half-heard
This class meets IN PERSON at Hugo House in Capitol Hill. You don’t need to be “good at drawing” to make comics. Yes, really!  Comics are built on choices—what to show, what to
Horror gives us permission to look directly at what we’re taught to avoid. Built on the tension between fear and fascination—it draws us toward the things we resist, the things we repress, the things we pretend we can’t see. In horror, these
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