Registration information below.
What is the Write Yourself Free Method? The Write Yourself Free(SM) Method is designed to teach the essentials of narrative writing so that writers develop confidence in process and imagination. Unlike other writing instruction, WYF relies on cognitive science to explain effective writing, narrative structure, and even the habits and practices of writers. By learning to work with basic cognitive concepts, writers free themselves to develop a personal, complex—and ultimately very satisfying—writing practice. And it’s FUN.
Saturday, March 28th, 11am-1pm PUNCTUATION $50 students, $75 public. Did you know that there is a logic to punctuation? That commas aren’t “where you take a breath”? If you have the habits of logical punctuation, you’ll help yourself imagine more connected words on the page. We’ll also talk a bit about grammar. It’s also logical. It will also help you “feel” your sentences, your phrases, their latent power, your deeper creativity.
Sunday, April 26th, 10am – 4pm BOOTCAMP FOR BEGINNERS (and old pros)! $125 Download more info Boot Camp Spring 2015.
Learn the theory and techniques Embodied Writing and set your imagination free. This workshop is designed to generate a powerful understanding of how your mind—your personal neurology, your logic, memory, and imagination— have evolved for the purpose of storytelling. In the learning process, we’ll explore exercises that will connect you more directly to your creative writing potentials. It’s fun learning; you’ll use your senses to make sense.
Special 4-Week Writing for Teens & Children with Victoria Sherrow Thursdays, 10:00am-12:00pm April 2, 9, 23, 30 $200
Bring 4 pages each week. 8 Workshops/$525
Tuesday 9:30am – 12:00pm March 10, 17, 24, 31, April 7, 14, 21, 28
Wednesday 10:00am-12:30pm March 11, 18, 25, April 1, 8, 15, 22, 29
Thursday 10:00-12:30pm March 12, 19, 26, April 2, 9, 16, 23, 30
Thursday 1:30pm-4:00pm March 12, 19, 26, April 2, 9, 16, 23, 30
Evening Tuesday 7:15-9:30pm
March 10, 17, 24, 31, April 7, 14, 21, 28
Introduction to Narrative Writing Wednesday Nights with Patrick McCord
Wednesday 7:15-9:30pm March 11, 18, 25, April 1, 8, 15, 22, 29
8 workshops/ $450 Wednesday 10:00am-12:15pm March 11, 18, 25, April 1, 8, 15, 22, 29
If you, like me, have a tenacious inner critic and/or a proclivity to take your writing self too seriously, this introduction to the WYF method is for you. In six weeks we will: 1) Become comfortable with free writing and sharing our work, 2) Gain an understanding of the 5 essential components of a story, applicable to narratives of any length, 3) Learn tools and strategies to develop a regular writing routine. 8 classes/$450 Three sections available.
Intermediate Narrative Writing Tuesday Mornings with Charles L. Stafford
Tuesdays 9:30am – 11:45am
March 10, 17, 24, 31, April 7, 14, 21, 28
Weekly Tuesday Nights. Join anytime! Email Tish
An 8 week Session $425
March 10, 17, 24, 31, April 7, 14, 21, 28
Whether you read poetry, or are beginning to write poetry, this is a workshop of discovery.You’ll find instant access to people, places and emotions that only the language of poetry can deliver. Our experience, memory, and imagination are all it takes to understand poetry and to make poems happen.
Join our weekly writing workshop with writer/editor Victoria Sherrow. Victoria has published over 80 children’s books in many genres — she is a font of knowledge about the industry.
An 8 Week Session $425 Choice of two sections
Wednesday Evening 7:00pm-9:00pm
March 18, 25, April 1, 8, 22, 29, May 6, 13
Fridays 10:00am-12:00pm March 20, 27, April 3, 10, 24, May 1, 8 & 15
Saturdays 11am-1pm Cognitive Screenwriting: A Method Overview of Basics Four Week Session
May 2, 9, 16, & 23 $265
Four week session: The Want and Complication
Character wants are what drive our interest in a movie or teleplay. A consistent but surprising series of wants makes things complicated and fun. We’ll watch some films and tv series to learn how the wants are written and then practice with in-class writing on characters we’ll develop for this process.
Screenwriting Intensive Saturday, April 11th 11am-1:30pm with Patrick McCord
$75, $60 WYF Students, $25 High School/College
If you’re weary of McKee or Syd Field’s iron dicta, if you have feeling that Final Draft Pro is prompting bogus plot-point pagination, if it seems to you that every spec script on the planet has the same flat ersatz flavor as a Tofu-burger, maybe you’d like to work on your screenplay in a different way. Points of discussion include: the essential neurological structure of story; mirror neurons; flow and play states; the difference between drafting and revising; conceptual blending with your creative nervous system; perception and emotion; physical alignment and moral loyalty; the essential stakes; Areas of Concern; essentials of writing practice.
REGISTRATION INFORMATION FOR ALL WORKSHOPS
PLEASE DO NOT REGISTER UNTIL YOU EMAIL US FIRST email@example.com — THERE MAY NOT BE ROOM IN THE SECTION — WE HAVE A WAIT-LIST. Workshops are limited to six students. We accept VISA, MC, AMEX. ONLINE. It is easy and secure with Authorize.net. Also Checks MADE OUT TO The Editing Company, 252 Post Road E. Westport, 06880. Payment must be received at least one week prior to the start of class. You may pay in two installments. Refunds & Credit Policy: No credit or refund will be given for students withdrawing less than 10 days prior to the start of the workshop or after the first meeting of the workshop unless there is an emergency situation.
How to use Shopping cart: Click on the Cart icon on the pencil (it will turn green) and open to a page that lists all of our workshops. Then click on the name of the workshop, use the drop down menu and then go back up to the pencil and click on “checkout.”
Special Seminars Description
Thursday, 12/18 10am-12:30pm “New & Improved Revision,” Information rich -for those with first or second drafts of stories, novels and screenplays. Among writers, there are those who have a way with a sentence and those who understand building story; only rarely are they native abilities in the same person. The rest of us have to work on one, the other or both. That’s revision. This seminar is for writers who want to polish an already-completed draft by learning and applying technical skills.
Monday, 12/22 10am-Noon “Complications”once your characters are up and running, you will want to get them into trouble. What motivates characters’ trouble-finding impulses and choices? How can you use your storyteller perspective or your protagonistic connection to get the stakes cranked up?
Sunday, Jan. 4th 1:00-3:00pm “Endings” A really good ending isn’t designed ahead of time. It’s the product of really trusting your imagination to find the concluding energy. We’ll discuss the sensation of a really good ending and how to seed your concluding energy in your writing and invention process.
Saturday, Jan. 17th 11am- 1pm “Punctuation.”Did you know that there is a logic to punctuation? That commas aren’t “where you take a breath”? Punctuation is a habit. You’ll help yourself thinking about putting words on the page if you have the habits of logical punctuation. We’ll also talk a bit about grammar. It’s also logical.
Past Special Seminars
This workshop was previously attended by 29 people. Information rich -for those with first or second drafts of stories, novels and screenplays. Among writers, there are those who have a way with a sentence and those who understand building story; only rarely are they native abilities in the same person. The rest of us have to work on one, the other or both. That’s revision. This seminar is for writers who want to polish an already-completed draft by learning and applying technical skills. We will focus on sentences, scenes, and holistic structure; in addition, we will review important punctuation.
“Areas of Concern”
Writers need to see Areas of Concern in stories to recognize the subtle power of a limited focus; human conscious attention is the cognitive allegory. We limit our attention to only a few things as we go through life just as stories are limited in their concerns. This seminar will use scenes from feature films and literature to illustrate the way that Areas of Concern limit and energize narrative.
“Stakes & Beliefs”
Stakes and Beliefs: What a character wants is the most captivating aspect of any narrative: that want is what’s “at stake” for her. But for the writer, it’s not enough to simply put your protagonist in pursuit of a want, we also have to know what the character believes about herself that makes the stake valuable to her. A good story is more than getting a goal, the real appeal is always about the challenge to belief.
Past Screenwriting Intensives
May 3rd, 2014 The New Creativity: Stories About Stories 10am-1pm
$75, $60 WYF students, $25 College and High School. Conventional stories are all around us all the time—those 300 cable stations, Youtube, advertising, politics, even stodgy old radio— to the point that, for a self-aware viewer, we may have an exhausted sense of deja-vu when viewing “entertainment” in most media; the characters, plots, and storyworlds are exhausted. The New Creativity has responded by re-thinking story conventions, and we see it in film and literature in a new story strategy: The Metatale. The Metatale is “meta” because it challenges our unconscious expectations about truth, reference, and storytelling. The Metatale in current cinema plays out in a number of innovative ways. Django Unchained, The Great Beauty (La Grande Bellazza), and Moonrise Kingdom, although radically different on their surfaces, are all examples of the New Creativity Metatales. Many viewers and even some smart critics “don’t get” these films: why not? This seminar will unpack the important concepts in the Metatale, give you a new point of view on how story can work, and open up the playground of the New Creativity for your imagination
Dialog (It’s Not That Hard) $60 public, $40 class & room members, $25 students.
This class is good for all writers: prose and screen, maybe even poets. Dialog is a necessary tool for all narratives.
Movies to be screened: American Beauty and Strangers On A Train. A major portion of every screenplay is characters talking: dialog. Writers often worry that all their characters sound that same, or worse, they all sound like members of the writer’s family. Stop worrying and start writing. As well as listening. The key to writing what characters say is developing your writer’s ear. Writing snappy and authentic dialog is actually easier than singing on perfect pitch or learning an inflected language. So c’mon down and write your characters alive with their own dictions.
“How Movies are Poetic Thinking”
Of all the artistic media, film and poetry are most dream-like. Dreams are chains of associations that always “feel” to the dreamer as if they are, in some strange way, necessary. In film, one image dissolves upon another and it’s up to the viewer to find the necessity; in poetry, one word dissolves upon another. In this seminar, we’ll look at the “necessities” that creative filmmakers use to expand our consciousnesses—like dreaming—like great poems, and like the best writers in any genre. Possible films: Tree of Life, North by Northwest, Fightclub, I Am Love, Woman of the Dunes, Pan’s Labyrinth, Ugetsu, Koyaanisqatsi.
Film Seminar Guarantee: You’ll leave smarter than you came or your money back.