The world is full of conversations, labels, and other odd bits of language. How can we use found text to tease out setting, characters, theme, images, and other disparates parts of narrative craft?
Join renowned writer James Sallis for a two-day, eight-hour intensive course on the fundamentals of writing good fiction
Classes and workshops for writers of all backgrounds, genres, and levels of experience
Class sizes are kept intentionally small--usually between 8 and 12 students--to maximize the amount of instruction and develop closer relationships between students, faculty, and the class as a whole. Classes range from single afternoons to multiple weeks and are offered at various times throughout the year. Individuals of all backgrounds and skill levels are welcome.
All classes takes place at the Piper Writers House at Arizona State University (450 E Tyler Mall, Tempe, AZ 85281) unless otherwise noted. For information about directions and parking, visit our about page.
Students currently enrolled in institutions of higher or continuing education receive discounts on all classes. Verification of student status must be provided upon request. Discounts vary depending on the class.
ASU Affiliates receive 10% off all classes as well. To receive your discount code, simply send us an email at pipercenter.info@asu.edu.
For more information, send the Piper Center an email or call us at 480.965.6018. You can also visit our facebook group.
The Piper Writers Studio hosts novelist and fiction writer James Sallis for an eight-week advanced fiction workshop for individuals who are actively working on a fiction project, are looking to publish, or have already published work. During this course, students will receive:
In this course, students are invited to develop an acute awareness of their senses in order to write more visceral, striking poems. We will discuss examples, contemporary and ancient, to initiate a practice that draws on figurative language, synesthesia, and the disavowed parts of self to plunge beneath the bland methods that tend to preempt or deplete many poems of our era.
The goal of this course is to give you a basic understanding of the publishing industry: how it is structured, how to navigate it, and how to make the best choices for your writing life and the life of your books. You are a writer, an artist—the most important thing you can do is focus on your work. But when the time comes to bring your writing to an audience, a host of other skills and knowledge come into play. While it’s true that the publishing world exists to support and promote art, it is also a business; agents, editors, and publishers must be mindful of the market and of money.
Through video lectures, activities, discussions, video conferences, peer reviews, and direct feedback from your instructor, you will learn new tools and methods for tackling a deep and intensive revision, gain knowledge on how to work with edit letters from publishing professionals, leave this course with revised pages from your own novel, and create a solid plan for moving forward to complete a full revision.
In this course, participants will be invited to "sing the body electric" (thanks, Whitman) ... in memoir. Through in-class exercises, discussions, and group workshop of manuscripts, each participant will attempt to locate his, her, their body's story and history. Through our writing and mentor texts, we will trace how what we think, what we believe, and who we are has grown out of our embodied experiences. George Lakoff and Mark Johnson argue that reason "is not, in any way, a transcendent feature of the universe or of disembodied mind.
This course takes students on a journey through the necessary information, tools, and exercises for the beginning screenwriter to start the first draft of a feature-length screenplay. Over the course of four weeks, individuals will be involved in in-class writing assignments, discussions on screenplays verses other formats, and learning techniques such as the 3-Act Structure and 10 Plot Points, Character Analysis, World-Upside-Down Overview, and formatting. Participants will present their screenplay drafts for feedback from others and also give feedback to the other individuals in class.
What can we learn from fairy tales as fiction writers? Whether it be strange characters, random plots, or startling twists, fairy tales burn interesting and memorable paths into our psyches. How do we weave these curious societal impressions into our current stories of today and make them work? Join renowned author and illustrator, Ursula Vernon (T. Kingfisher), as she discusses ways to spin some of the more absurd elements of fairy tales into workable modern narratives.
Performance narrative is for every writer—those who may want to add new elements to one’s current writing style or those who are interested in writing performance pieces. Together, let us explore contemporary writers (Carla Harryman, Ron Allen, Amiri Baraka, Adrienne Kennedy and Nova Baize) who have moved descriptive narrative into experimental performance. As a class, we will consider a social problem, and then in groups create a narrative work and add performance elements. In brief and playful revisions, text arrangement will indicate sound and pace dynamics.
A poem contains multiple kinds of intelligence. Beneath the meanings of the words that make up a poem, other forms of meaning strive to be felt. This workshop will explore two of the most prominent of those alternate intelligences: musicality and image. Following the poet Louis Zukofsky’s sense, “Lower limit speech / Upper limit music,” we’ll seek ways, through readings and through in-class experiments, to re-awaken our ear to the musical intelligence undergirding language.
Join teacher, poet, author, and Piper Writers Studio Visiting Faculty, Andrea Scarpino for two unique poetry workshop opportunities on Friday, November 16 and/or Saturday, November 17. If you bundle both classes for the Poetry Writers Intensive, you save even more!
Scarpino joins the Piper Writers Studio from St. Louis, Missouri and will be in town for only these two days to work with writers around the valley on building their skills in poetry as witness and in consideration of the body. Seats are limited, so register early.
We sit on the edge of possibility. From Roddenberry’s sliding doors and tablet PCs to Atwood’s dystopian floods, our stories point the way to possible futures. This is a class about writing those futures. Participants will explore the basic elements of creating strong fiction and learn how to weave those elements into the extraordinary worlds we carve out of fringe science and the environmental issues shaping our tomorrows. Participants will engage with existing genre work ranging from Bacigalupi to Zelzany to learn the finer points of craft.
