The Desert Nights, Rising Stars
Writers Conference

Many of us come to writing through a love of reading: the strike of literary lightning, a certain line or phrase that stays with us for years. As we continue to grow as writers and participate in the community, our creative process evolves, being shaped and informed by the relationships we have with the works of others.

Every single poet has complex roots – whether his/her/their family has lived in the States for generations or arrived here recently. This session provides poets the space and freedom to generate material that examines their cultural and linguistic identities in a safe environment. This workshop gives us permission to write about our roots, to learn more about how to use code-switching, and to become mindful of the musical friction and affinities between our English accents and Standard American English.

Throughout the world people are trying to figure out how to connect, how to talk about things that matter without having those conversations devolve into chaos. Many are turning to the written word. But, how do we write about provocative topics without sounding like we're standing on a soapbox or shouting through a bullhorn? This session will provide a framework for how to write about controversial issues in ways that open the hearts and minds of your readers and that may even lead to true healing and change. 

Have a great idea for a novel but don't know how to start it? Stuck in the middle of novel-drafting and stalling out? Much of writing a novel through to its end is about what is set up by its premise. A novel, a great writer once said, is a structural machine. That structure begins at the beginning. Agents and editors want to see the first 50 pages of the novel for a reason--a lot has to happen in those 50 pages to sustain a book-length work of fiction. What exactly makes an inciting incident, though? Exploring that question will help the writer set the groundwork for a novel.

The current atmosphere of sensational opinion and clickbait headlines obsessed with a chaos-driven president has created a national eruption of misinformed dissent. In Arizona, artists and activists have seen a microcosm of present dangerous policies, electoral/resistance strategies. After the passing of SB1070, we gathered our truths to culturally and historically inform the present rhetoric of problem-solving. In this session, we will discuss how storytelling can and should function in the political sphere.

Do you need to re-energize your writing? Looking for a fun and generative way to get your artistic momentum flowing? In this session, we’ll discuss how short, timed writing prompts can stimulate creativity, and demonstrate how individuals may express themselves through creative writing in ways they never believed possible. Many people are drawn to using this technique and find that they are able to move pen to paper with ease, even after gaps and breaks within their writing. We will put this technique into action to rediscover, wonder, and harness our creativity together.

The diverse world of literary publishing is changing more rapidly than ever. We will examine several top markets, identifying trends in design, editorial preferences, leadership, and technology. We will also discuss methods for managing submissions in a fast-paced publishing environment. 

This session explores the role of history in contemporary novels—of colonialism, war, and diaspora—as events and periods become catalysts for narrative and character movement through time. It will provide an overview of the “family saga” as a narrative structure: its merits and challenges from both a reading and writing perspective. What gaps are irreconcilable or inevitable in a novel’s spanning across time and through generations of characters?

What does it mean to explore the actual lives of others? What do we know of disability and how do we write about it? How do we preform disability? Join writer, director, and performer, Terry Galloway in exploring disability in creative writing and performance. In this session participants will spend fifteen minutes writing as frankly as they can about the subject, using as prompts either their experiences with disability or their impressions of disability.

In fairy tales, there are royalty and dragons, wolves and goblins, knights and millers—but think of the world they occupy. Who are the characters on the margins of society and where are they during the events of the narrative? In this collaborative writing session, we’ll pry open a single fairy tale to discover those hidden characters. After sharing our work, we’ll pry open our own free-writes to spot our characters’ tangly relationships and use these discoveries to further our narratives.

Martin Amis said that all writing is a war on cliche -- not only cliches of expression, but cliches of setting, character, even narrative style. Tim O'Brien wrote that what he finds lacking in so much of today's writing is simple imagination. We'll talk about rejecting the first streams of what comes to mind, about digging deeper: seeing, visualizing, recreating. 

Join career journalist, Mike Conklin, on his approach to writing creative nonfiction with a focus on the basics: establish the narrative, match it with an intended audience and medium, collect facts, and, depending on length, construct your storytelling with an organized, clear pathway. The structure of sentences, paragraphs and relative details carry the reader. Sounds simple and journalistic, but nonfiction writing is about facts---their use and non-use. Let them tell the story, and the writer provides segues.

Sex is one of the basest of human driving behaviors and yet remains one of the most challenging topics to write. Whether we are describing love, intimacy, the act of sex, sexual violence, or simply describing the body, how do we navigate sex in our work without slipping into cliché, detached language, or tonal discord? In this session, we will look at examples of writers in fiction, nonfiction, and poetry who have written sex fearlessly and we will discuss how these authors’ approaches are effective.

In this workshop, we will have a laser-like focus on one thing: conflict. Without conflict, stories are flat or meandering. Conflict is the engine, the heart, ground zero of a story, whether it’s a blaster or a 900 page novel. But what is conflict, exactly? How do we set it up? How do we set it up so it’s not terribly obvious or cliché? And how do we use conflict to advance our story?  Participants will be guided through a quick checklist approach to building conflict in stories. 

What is it like to be a poet of color in a literary world dominated by white men? What does it mean to be a writer of color without an MFA walking the hallways of the academy’s ivory tower that continue to colonize spaces of color? Writers of color will engage in a discussion exploring questions that are common while existing in a white man’s literary world. Participants will look at two poems and one essay that showcases how writers of color historically have nurtured their authentic voice and given a voice for the silenced.

More information about small group check ins is coming soon.