The 2018 Spring Saturdays Series will include four different Master Classes. All Spring Saturdays events will take place on the MTSU campus in the Sam Ingram Building:
2269 Middle Tennessee Blvd
Murfreesboro, TN 37130
Saturday, January 20, 2018
"THE JEWEL OF THE SCAB: MINING CONTRASTS FOR EFFECTIVE POEMS"
Sometimes as writers we gravitate toward our good memories, or those that we think are somehow beautiful: how sweet the honeysuckle; how brilliant the sky. At other times, we can’t tear our focus from all that feels wrong in the world, whether that’s violence, exploitation of people and the environment, snarky memes or untimely death.
No matter what turn a poem ultimately takes, we can create more memorable, less predictable writing by intentionally using contrast. In this session we’ll read work by contemporary poets such as Cecilia Woloch, Christina Stoddard, Dave Harrity, Marcus Jackson, and Vandana Khanna with special attention to how contrasting images enrich these poems about origin, identity, place and belief. As a bonus, we’ll consider several poems in styles conducive to modeling, so you’ll leave with some of your own experiences in a draft of a poem or micro-prose.
This session will be suitable for all levels of writers.
Kory Wells is author of HEAVEN WAS THE MOON, poetry from March Street Press. In 2017 she was selected the inaugural poet laureate of Murfreesboro, where she also advocates for democracy, afternoon naps, and other good causes. Kory is a mentor with MTSU Write and directs the local reading and open mic series, Poetry in the Boro. Winner of the 2016 HeartWood Broadside Series, her work appears in ASCENT, NEW SOUTHERNER, POEM, RUMINATE, STIRRING, THE SOUTHERN POETRY ANTHOLOGY and other publications. Find her online at kory.com.
This event is free and open to the public, but space is limited.REGISTER
Saturday, February 24, 2018
Is This a Play? – Pushing the Boundaries of What Belongs Onstage
This workshop is designed for writers of any genre who’ve either toyed with the idea of writing a play, started a play and got stuck, or are just interested in exploring the possibilities, as well as playwrights who want to shake up their relationship with dramatic form and structure.
What makes us want to put a story on stage? How do we take advantage of the open space that is theater? Why do audiences need to invest in a character’s dramatic journey? What’s tricky about adaptation? How can writers clarify their voice to communicate their vision? And while there’s certainly a place for “well made plays” and traditional, Aristotelian structural demands (conflict, climax, resolution), let’s talk about the unique, collaborative nature of live theatre. And the fact that it sometimes cries out for breaking the rules and, perhaps, even investigating the potential of… multiple climaxes? (Yes, Aristotle was a man.)
Jennie Webb is an independent Los Angeles playwright, currently in residence at Rogue Machine (where her dark retail comedy "Yard Sale Signs" premiered) and Theatricum Botanicum (where she runs workshops and "Botanicum Seedlings: A Development Series for Playwrights"). Her plays, including "Remodeling Plans," "Unclaimed Assets," "GreenHouse," "On Tuesday," "It's Not About Race," "Buying a House" and “Currency” have been produced in LA (most recently at Inkwell Theater, Santa Monica Rep. and GreenLight Productions), on stages across the country and at the Edinburgh Fringe Festival. She has been a part of The Playwright Center's PlayLabs, Great Plains Theatre Conference, Little Black Dress INK Female Playwrights ONSTAGE Festivals, the Virginia Avenue Project, The Blank Theatre’s Living Room Series, EST/LA Winterfest & Launchpad, The Road Theatre's Summer Playwrights Festival and Moving Arts MADlabs with plays including "The Complete Story of the War," “Men & Boxes," ”Blood Replacement,” “Color Separation," “Rebecca on the Bus,” “Chicken Shoot,” "Crazy Bitch," “Jilt” and “Footprint”; her work is published by Heinemann Press and ICWP. She is currently a member of the Playwrights Union, EST/LA's Playwrights Unit and PlayGround-LA writer’s pool, and the Dramatists Guild. She is the recipient of a Women in Theatre Red Carpet Award, a Max K. Lerner Playwriting Fellowship, and co-founded and acts as editor-at-large for the Los Angeles Female Playwrights Initiative (LA FPI).
Asked to describe her own work, Jennie uses the term “domestic absurdism.” She writes complex women characters and believes in tackling difficult subject matter in unexpected ways and through darkly comic choices. She lives in Los Angeles with her husband and housecats Molly and Mick. www.jenniewebbsite.
This event is free and open to the public but space is limited