creative writing seattle

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Seattle Writes: Our Favorite Writing Books

Librarians at The Seattle Public Library created this list of our favorite books about the craft of writing. (September 2022)

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Librarians at The Seattle Public Library present a selection of books, online resources, and Seattle Writes podcasts for writers ready to publish their work via either traditional publishing or self publishing. (September 2022)

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For all writers.

If you love to read or write, there’s a place for you at hugo house..

Hugo House isn’t just a place. It’s a community.

Hugo House is a nonprofit literary arts organization that aims to make writing accessible. Everyone has a story to tell. Whether you’re a new writer wanting to learn, an experienced author seeking a supportive environment to share your work, or a reader looking for new books to love—at Hugo House, you’ll find ways to explore your creativity, whatever your interest or budget.

Registration for Summer 2024 creative writing classes opens on June 4th!

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Whether you’re struggling to write your first poem or have a few novels under your belt, Hugo House offers classes, workshops, and other programs to help you achieve your writing goals. Our classes are taught by published writers who are also stellar teachers. Our students come from a variety of backgrounds and life experiences. What they all have in common: a love of words.

Imagined Realities: Speculative Fiction Survey

Instructor: Evan Ramzipoor. Speculative fiction is play: breaking narrative forms to create something new. We'll study how the masters do it, then write our own. Leave with several starts and a new sense of ease toward your writing as a whole. 

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Best Creative Writing colleges in Seattle 2024

Best creative writing colleges in seattle for 2024.

University of Washington-Seattle Campus offers 2 Creative Writing degree programs. It's a very large, public, four-year university in a large city. In 2022, 50 Creative Writing students graduated with students earning 42 Bachelor's degrees, and 8 Master's degrees.

Pacific Lutheran University offers 2 Creative Writing degree programs. It's a small, private not-for-profit, four-year university in a large suburb. In 2022, 27 Creative Writing students graduated with students earning 15 Master's degrees, and 12 Bachelor's degrees.

Seattle Pacific University offers 1 Creative Writing degree programs. It's a small, private not-for-profit, four-year university in a large city. In 2022, 13 Creative Writing students graduated with students earning 13 Master's degrees.

Seattle University offers 1 Creative Writing degree programs. It's a medium sized, private not-for-profit, four-year university in a large city. In 2022, 15 Creative Writing students graduated with students earning 15 Bachelor's degrees.

University of Puget Sound offers 1 Creative Writing degree programs. It's a small, private not-for-profit, four-year university in a midsize city. In 2022, 5 Creative Writing students graduated with students earning 5 Bachelor's degrees.

University of Washington-Bothell Campus offers 1 Creative Writing degree programs. It's a medium sized, public, four-year university in a large suburb. In 2022, 9 Creative Writing students graduated with students earning 9 Master's degrees.

List of all Creative Writing colleges in Seattle

• Faculty & Staff

English - Creative Writing

College of Arts & Sciences

The English Creative Writing concentration prepares students not only to be more effective communicators and artists, but also creative problem solvers and more nuanced critical thinkers. By situating small, student-oriented writing workshops alongside literary models, creative writing classes enhance the broader study of literature and critical theory, helping students gain a greater understanding of the social and cultural forces informing their work. A student completing the program is more able to situate themselves in a larger aesthetic and social context and make more meaningful, informed decisions about their own artistic practice. In addition, through the intense practice of creative writing, students are able to see the world more clearly, in a more nuanced and meaningful manner, and apply these skills to a wide variety of work and life situations.

Major category : Capacity-constrained

Curricular options : Creative Writing

Topic(s) : Arts, Humanities and Design

Applicant type

Freshmen can apply to the UW to begin autumn quarter or winter quarter (U.S. applicants only)

Read more about applying to the UW as a freshman , including details for programs that provide high school students with college credit (like Running Start).

Quarters of general admission to UW : autumn / winter (U.S. applicants only) / spring / summer

Preparation for the major is a factor in transfer admission.

• Use the information below to help you prepare for this degree
• Visit MyPlan to run a degree audit.
• Use the UW Equivalency Guide to find out how courses taken at a Washington state community or technical college will transfer to the UW.
• UW college and school graduation requirements

Department admission information

Departmental application deadline : Must enroll at the UW before applying to the major. Please contact the department for details about the application process.

Read more about applying to the UW as a transfer student .

Courses required for the major:

Creative Writing option

• Admission to the English major
• Minimum cumulative GPA of 2.00
• Minimum cumulative GPA of 2.50 in all English coursework
• Minimum 2.0 GPA in ENGL 202
• ENGL 283 (beginning verse) and ENGL 284 (beginning short story) or transfer equivalents.
• Submission of an unofficial transcript and a writing sample of 3–5 poems and 5–10 pages of fiction (preferably a complete story) to the Creative Writing office (B-25 Padelford) during the first three weeks of autumn and spring quarters.

Courses recommended for the major:

ENGL 202 is usually taken after transfer to the UW. Spaces are reserved for new transfer students in autumn, winter and spring in this pair of courses.

Entering transfer information:

Total undergraduates: 56 Total from Washington community colleges: 10

Entering transfer GPA (from WA community colleges):

3.75 – 4.00: 5 3.50 – 3.74: 3.25 – 3.49: 3.00 – 3.24: 2.75 – 2.99: 2.50 – 2.74: 2.49 and below:

Career outcomes

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7 Best Creative Writing Classes in Seattle

Showing 7 courses that match your search.

Three-Day Critique Workshop

Cascade Writers

This workshop offers a unique opportunity for writers to submit up to 4000 words of their work for critique in a group setting, led by industry professionals including Arley Sorg and Cat Rambo. The program includes pitch sessions to an agent, one-hour workshops, and panel presentations on various writing and publishing topics. It's a chance to polish the first pages and chapters of your project, with optional casual gatherings to network with other writers, editors, and agents​​​​.

Website: https://cascadewriters.com/2024-three-day-critique-workshop/

Categories: Science Fiction and Fantasy

Start date:

Prerequisites: 4000 words of your novel, short story, or whatever project you are working on.

Business Writing: Proposals, Reports & Documents

Professional & Continuing Education

This 7-week online course is perfect for technical and non-technical professionals looking to advance their careers through well-crafted business narratives, proposals, and reports. With no formal admission requirements, it caters to individuals with foundational English writing skills and familiarity with style guides. The course, priced at $949, emphasizes clear, concise writing, document structure, audience consideration, and effective editing, requiring a weekly commitment of 7 to 9 hours.

Website: https://www.pce.uw.edu/courses/business-writing-reports-p...

Categories: Business

Open all year round

Prerequisites: No prerequisites

Writing Children's Literature

Explore the enchanting world of children's picture books in this 9-week online course. Ideal for those keen on writing for children, it covers the unique challenges of this genre, blending text and illustration. You'll learn about story structure, narrative voice, and the art of revising work. The course promises practical experience in drafting a picture book, requiring a weekly commitment of 7 to 9 hours​​​​​​​​​​​​​​.

Website: https://www.pce.uw.edu/courses/writing-childrens-literatu...

Categories: Kids

How to Write a Novel

Your story matters. Unlock your potential with daily video lessons from bestselling ghostwriter Tom Bromley, and finish your first draft in just 3 months. Learn more →

Fiction Writing: The Novel

Dive into the intricacies of novel writing with this 9-week online course. It's tailored for intermediate to advanced fiction writers working on novels or story collections. The curriculum includes enhancing prose, structuring novels, and creating compelling scenes, with an expected weekly commitment of 7 to 9 hours. The course emphasizes practical application, aiming to produce polished prose and a structured plan for your book​​​​​​​​​​​​​​​​.

Website: https://www.pce.uw.edu/courses/fiction-writing-the-novel

Categories: Book and Fiction

Prerequisites: Experienced writers who are finishing (or currently working on) a publishable work.

The Art of Writing

This online course, spanning 9 to 10 weeks, is perfect for anyone looking to enhance their writing skills, from beginners to more experienced writers. Focusing on fundamental writing principles and practices, it covers key aspects like crafting strong sentences, showing versus telling, language refinement, and effective editing. The course, which is part of a certificate program, also delves into using strong nouns and verbs, maintaining tension, and amplifying conflict in writing.

Website: https://www.pce.uw.edu/courses/the-art-of-writing

How to Get Published

Seattle Writing Workshop

This one-day intensive workshop, scheduled for May 11, 2024, offers a comprehensive guide on getting published. Open to writers of all genres, it features classes on writing, publishing, and marketing, with options for one-on-one pitches to literary agents. It's an in-person event at the Seattle Convention Center, ideal for aspiring authors seeking publication​​​​​​.

Website: https://theseattlewritingworkshop.com/

Categories: Publishing

Screenwriting 101

Rekindle School

Taught by an independent Seattle filmmaker, this class covers the screenplay writing process, including structure, identifying target audiences, and marketing. Students will practice writing scenes and short scripts and receive feedback on their work. The course spans four Monday sessions at $150, offering practical knowledge and writing experience.

Website: https://www.classesandworkshops.com/writing-classes/class...

Categories: Screenplay

So you’re looking for creative writing classes in Seattle

Looking to sharpen your writing skills? You’re in the right place. Join a creative writing class in Seattle to get a headstart to finally finish that novel that you’ve been dreaming about for years.

This directory of the best writing courses in Seattle is meant to help you locate the right one for yourself.  We’ve included filters for price and genre so that you can quickly sort through the writing classes. And before you commit to any one writing class, consider the following questions:

• Who is the instructor?
• What is the price of the writing course?
• How far away is the writing course in Seattle? Is there a remote alternative?
• How long could the course last?

Got any questions about finding the right writing class in Seattle for you? Feel free to reach out to us at [email protected] . Good luck!

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A Blog of Seattle Arts & Lectures

Looking for creative writing summer camps?

April 9, 2021.

This summer, many of our talented WITS Writers-in-Residence will be leading Scribes Summer Camps with our community partner, Hugo House! Young writers, grades 5-12, will have the opportunity to participate in week-long, all-day camps in which they can safely focus on, dig deep into, and nurture their inner writer. Our WITS writers, as well as guest teaching artists, will lend their expertise and perspective to help students improve their writing and create astonishing new works.

Below is a complete catalogue of all courses led by our WITS writers, which span the genres of poetry, prose, comics, sci-fi & fantasy, songwriting, and visual/audio storytelling , and with camps including immersions into exhibits at the Wing Luke and Northwest African American Museums , and beyond!

Creative Writing Scribes with Arlene Naganawa & Sara Brickman

In this exploratory camp, students will develop their creative writing abilities by experimenting in a wide variety of prose and poetry. Students will examine works from carefully curated authors and will participate in writing activities, craft exercises, and artistic experiences designed to inspire their imaginations. Camp sessions will be facilitated by two local artists: Arlene Naganawa is a published poet and educator, and Sara Brickman is a published writer, performer, and educator; it will also feature guest teaching artists. The week will culminate with a reading of student work and the option for students to contribute a chosen piece to a digital anthology of their work.

Starts July 5th.

Scribes with the Wing Luke Museum with Arianne True & Sara Brickman

Students will immerse themselves in diverse stories, exhibits, and activities from the Wing Luke Museum, an integral institution for Asian Americans and Pacific Islanders in our region. As students explore works curated from the museum, they will participate in writing activities, craft exercises, and experiences designed to inspire their imaginations. Camp sessions will be facilitated by two local artists: Arianne True is a published poet and educator, and Sara Brickman is a published writer, performer, and educator; it will also feature guest speakers from the museum. This camp will culminate with a reading of student work and the option for students to contribute a chosen piece to the Wing Luke Museum.

Starts July 12th.

Creative Writing Scribes with Arlene Naganawa

In this exploratory camp, students will develop their creative writing abilities by experimenting in a wide variety of prose and poetry. Students will examine works from carefully curated authors and will participate in writing activities, craft exercises, and artistic experiences designed to inspire their imaginations. Camp sessions will be facilitated by two local artists: Arlene Naganawa is a published poet and educator, and Colleen Barry is an artist, published writer, and educator; it will also feature guest teaching artists. The week will culminate with a reading of student work and the option for students to contribute a chosen piece to a digital anthology of their work.

Starts July 26th.

Comics and Graphic Novels Scribes with Greg Stump and Arianne True

Students will expand their creative writing repertoire by exploring storytelling and poetry in graphic forms, studying topics like memoir, expression, mood, and character. Students will read a wide variety of work from carefully curated authors and will participate in writing activities, craft exercises, and experiences designed to inspire their imaginations. Camp sessions will be facilitated by two local artists: Greg Stump is a published comic writer, graphic novelist, and educator, and Arianne True is a published poet and educator; it will also feature guest teaching artists. This camp will culminate with a reading of student work and the option for students to contribute a chosen piece to a digital anthology of their work.

Starts August 2nd.

Creative Writing Scribes with Samar Abulhassan and Jay Thompson

In this exploratory camp, students will develop their creative writing abilities by experimenting in a wide variety of prose and poetry. Students will examine works from carefully curated authors and will participate in writing activities, craft exercises, and artistic experiences designed to inspire their imaginations. This camp will be facilitated by two local artists: Samar Abulhassan and Jay Thompson are both published poets and educators; it will also feature guest teaching artists. The week will culminate with a reading of student work and the option for students to contribute a chosen piece to a digital anthology of their work.

Starts August 9th.

Poetry, Music, and Memory with Samar Abulhassan

“Music isn’t simply music,” the poet Kevin Young said. “It’s memory. It’s connecting us to our past.” In this class, we’ll immerse ourselves in the magic of music and poetry. You’ll tap into your own jukebox of memory through summoning songs from your past and present, connecting to a songwriter you love, for example, by creating a golden shovel poem inspired by a favorite song passage. Expect poems to surface from treasured yet forgotten memories. We’ll also create a collective jukebox, pooling some of our favorite song lyrics together to create fun writing experiments, pausing to read inspiring texts by Victor Hernandez Cruz, Ross Gay and Sonia Sanchez and Bob Kaufman.

Starts April 22nd.

Creative Writing Scribes with Samar Abulhassan

In this exploratory camp, students will develop their creative writing abilities by experimenting in a wide variety of prose and poetry. Students will examine works from carefully curated authors and will participate in writing activities, craft exercises, and artistic experiences designed to inspire their imaginations. This camp will be facilitated by two local artists: Samar Abulhassan is a published poet and educator, and Courtney Bird is a published writer and educator; it will also feature guest teaching artists. The week will culminate with a reading of student work and the option for students to contribute a chosen piece to a digital anthology of their work.

Sci-Fi and Fantasy Scribes with Greg Stump

Students in this camp will explore the worlds of science fiction and fantasy in order to develop their creative writing skills. Students will read a wide variety of work from carefully curated authors and will participate in writing activities, craft exercises, and experiences designed to inspire their imaginations. This camp will be facilitated by two local artists: JP Kemmick is a published writer and educator, and Greg Stump is a published comic writer, graphic novelist, and educator; it will also feature guest teaching artists. This camp will culminate with a presentation of student work and the option for students to contribute a chosen piece to a digital anthology of their work.

Songwriting Scribes with Totem Star with Matt Gano

In this music-infused camp, students will explore the craft of lyric and songwriting. Students will read and listen to a wide variety of work from carefully curated songwriters and lyricists and will participate in writing activities, craft exercises, and experiences designed to inspire their imaginations. This camp will be facilitated by two local artists: Matt Gano is a is a published poet, performer, and educator, and Zoser Dunbar is a singer/songwriter; it will also feature guest teaching artists. This camp will culminate with a performance of student work and the option for students to contribute a chosen piece to a digital anthology of their work.

Starts July 19th.

Audio/Visual Storytelling Scribes with Corinne Manning

In this multi-sensory camp, students will expand their storytelling repertoire by engaging with a variety of storytelling formats from carefully curated writers. They will participate in writing activities, craft exercises, and experiences designed to inspire their imaginations. This camp will be led by two local artists: Corinne Manning and Meredith Arena, both of whom are published writers and educators; it will also feature guest teaching artists. This camp will culminate with a performance of student work and the option for students to contribute a chosen piece to a digital anthology of their work.

Creative Writing Scribes with Karen Finneyfrock

In this exploratory camp, students will develop their creative writing abilities by experimenting in a wide variety of prose and poetry. Students will examine works from carefully curated authors and will participate in writing activities, craft exercises, and artistic experiences designed to inspire their imaginations. This camp will be facilitated by two local artists: JP Kemmick is a published writer and educator, and Karen Finneyfrock is a poet, novelist, and educator; it will also feature guest teaching artists. The week will culminate with a reading of student work and the option for students to contribute a chosen piece to a digital anthology of their work.

Poetry Scribes with Sierra Nelson and Arianne True

Students will delve into the craft of poetry, immersing themselves in diverse forms of written expression and learning poetic techniques. Students will read a wide variety of work from carefully curated poets and will participate in writing activities, craft exercises, and experiences designed to inspire their imaginations. This camp will be facilitated by two local artists: Sierra Nelson and Arianne True, both of whom are published poets and educators; it will also feature guest teaching artists. This camp will culminate with a reading of student work and the option for students to contribute a chosen piece to a digital anthology of their work.

Grades 9-12

Creative writing scribes with sierra nelson & corinne manning.

In this exploratory camp, students will develop their creative writing abilities by experimenting in a wide variety of prose and poetry. Students will examine works from carefully curated authors and will participate in writing activities, craft exercises, and artistic experiences designed to inspire their imaginations. This camp will be facilitated by two local artists: Sierra Nelson is a published poet and educator, and Corinne Manning is a published writer and educator; it will also feature guest teaching artists. The week will culminate with a reading of student work and the option for students to contribute a chosen piece to a digital anthology of their work.

Creative Writing Scribes with the Northwest African American Museum with Naa Akua and Daemond Arrindell

Students will immerse themselves in diverse stories, exhibits and activities from the Northwest African American Museum, an integral institution of art, history, and culture in our region. Students will learn elements of prose and poetry to develop their creative writing skills, while participating in writing activities, craft exercises, and experiences designed to inspire their imaginations. This camp will be facilitated by two local artists: Naa Akua is a published poet, performer, and educator, and Daemond Arrindell is a published poet, playwright, performer, and educator, it will also feature guest presenters from the museum. This camp will culminate with a reading of student work and the option for students to contribute a chosen piece to the Northwest African American Museum.

Poetry Scribes with Daemond Arrindell and Shelby Handler

Students will delve into the craft of poetry, immersing themselves in diverse forms of written expression and learning poetic techniques. Students will read a wide variety of work from carefully curated poets and will participate in writing activities, craft exercises, and experiences designed to inspire their imaginations. This camp will be facilitated by two local artists: Daemond Arrindell is a published poet, playwright, performer, and educator, and Shelby Handler is a published writer and educator; it will also feature guest teaching artists. This camp will culminate with a reading of student work and the option for students to contribute a chosen piece to a digital anthology of their work.

Creative Writing Scribes with Karen Finneyfrock & Shelby Handler

In this exploratory camp, students will develop their creative writing abilities by experimenting in a wide variety of prose and poetry. Students will examine works from carefully curated authors and will participate in writing activities, craft exercises, and artistic experiences designed to inspire their imaginations. This camp will be facilitated by two local artists: Karen Finneyfrock is a poet, novelist, and educator, and Shelby Handler is a published writer and educator; it will also feature guest teaching artists. The week will culminate with a reading of student work and the option for students to contribute a chosen piece to a digital anthology of their work.

Posted in Writers in the Schools

The 2024 Seattle Writing Workshop

Get your writing published: may 11, 2024, the 2024 seattle writing workshop: may 11, 2024.

This writing event is a wonderful opportunity to get intense instruction over the course of one day, pitch a literary agent or editor (optional), get your questions answered, and more. Note that there are limited seats at the event (200 total). All questions about the event regarding schedule, details and registration are answered below. Thank you for your interest in the 2024 Seattle Writing Workshop! We are very proud of our many success stories where attendees sign with agents following events — see our growing list of success stories here .

(Please note that this is an in-person event. We at Writing Day Workshops plan both online/virtual as well as in-person events. This next SWW is an in-person event happening in Seattle on May 11, 2024. See you there.)

WHAT IS IT?

This is a special one-day “How to Get Published” writing workshop on Saturday, May 11, 2024, at the Seattle Marriott Bellevue. In other words, it’s one day full of classes and advice designed to give you the best instruction concerning how to get your writing & books published. We’ll discuss your publishing opportunities today, how to write queries & pitches, how to market yourself and your books, what makes an agent/editor stop reading your manuscript, and more. No matter what you’re writing — fiction or nonfiction — the day’s classes will help point you in the right direction. Writers of all genres are welcome.

This event is designed to squeeze as much into one day of learning as possible. You can ask any questions you like during the classes, and get your specific concerns addressed. We will have literary agents onsite to give feedback and take pitches from writers, as well. This year’s agent and editor faculty so far includes:

• literary agent Kesia Lupo (The Bindery)
• literary agent Katie Reed (Andrea Hurst Literary)
• literary agent Lisa Gouldy (Corvisiero Literary)
• literary agent Adria Goetz (KT Literary)
• literary agent Alisha West (Victress Literary)
• literary agent Kelly Bergh (Lucinda Literary)
• literary agent Jynastie Wilson (LCS Literary Services)
• literary scout Rae Loverde (Donald Maass Literary Agency)
• literary agent Leslie Varney (Prentis Literary)
• literary agent Micah Brocker (Corvisiero Literary)
• literary agent Kate Rogers (K.O. Media Management)
• literary scout Kate MacGregor (MacGregor & Luedeke Literary)
• literary agent Scott Eagan (Greyhaus Literary)
• editor Tess Jones (Egret Lake Books)
• and possibly more to come.

By the end of the day, you will have all the tools you need to move forward on your writing journey. This independent event is organized by coordinator Chuck Sambuchino of Writing Day Workshops , with local help with the amazing Seattle Writers Meetup . E-mail Chuck to register for the event at [email protected] and tell him you’re interested in the Seattle event specifically.

EVENT LOCATION & DETAILS:

9:30 a.m. – 5 p.m., Saturday, May 11, 2024 — at the Seattle Marriott Bellevue, 200 110th Ave NE, Bellevue, WA 98004.

THIS YEAR’S SESSIONS & WORKSHOPS (MAY 11, 2024):

What you see below is a quick layout of the day’s events. The topics below are mostly set, but subject to change. You can see a more detailed layout of the day’s classes on the Schedule Page here .

Please Note: There will be 2-3 classes/workshops going at all times during the day, so you will have your choice of what class you attend at any time. The final schedule of topics is subject to change, but here is the current layout:

8:30 – 9:30: Check-in and registration at the event location.

BLOCK ONE: 9:30 – 10:30

1. Before You Query: Understanding Query Letters, Synopses, and More . This class is for writers who believe they are finally ready to begin querying agents or submitting to editors who accept un-agented submissions. Writers will receive both industry advice and samples of fiction query letters and synopses as well as nonfiction book proposals.

2. Spice Up Your Writing: Tips on Character, Setting, and World-Building . This class, taught by a literary agent, shares helpful info on how to make your writing stronger, and pull in both agents and readers.

BLOCK TWO: 10:45 – 11:50

1. Understanding the Publishing Industry in 2024 — From Hybrid Publishing to Artificial Intelligence and Everything in Between . How are traditional publishing and self-publishing changing? What kind of writer is attractive to an agent currently? What is hybrid publishing? How will A.I. (artificial intelligence) help or hurt writers in the years to come? Which social media sites and publishing resources are worth the time and effort in 2024?

2. The Art of the Hook . This presentation will teach the art of writing hooks within your story, on your cover, and in your marketing. Learn how to grab interest on page 1, in paragraph 1 and with your first sentence; how to hook at chapter breaks and other critical points; and how to build hooks into your story arc and into your plot.

(What you see here is a quick layout of the day’s events. See a full layout of the day’s sessions, with detailed descriptions, on the official Schedule Page here .)

LUNCH ON YOUR OWN: 11:50 – 1:15

Lunch is on your own during these 85 minutes.

BLOCK THREE: 1:15 – 2:30

1. “Writers Got Talent”—a Page 1 Critique Fest . This is a chance to get your first page read (anonymously — no bylines given) with attending agents commenting on what was liked or not liked about the submission.     2.  How to Sell a Nonfiction Book . This session is completely devoted to nonfiction book proposals.

BLOCK FOUR: 2:45 – 3:45

1. Open Agent Q&A Panel. Several attending literary agents will open themselves up to open Q&A from SWW attendees. Bring your questions and get them answered in this popular session.

2. Mapping Your Plot . Plot is the spine of the story and all else radiates from there. This session introduces the key elements of a plot line and then techniques as to how to generate your own plot line through plot mapping.

BLOCK FIVE: 4:00 – 5:00

1. 10 Evergreen Keys to Writing Success. Learn 10 things you can be doing right now that will help get your book(s) published and have more control over your writing destiny.

2. What a Literary Agent Can Teach You About Editing and Revision . Learn how to go back to the drawing board and approach your manuscript with an agent’s eye! Topics include the crucial reader-character connection, polishing your prose, red flags and pitfalls to avoid, and some popular tactics to effectively pull your reader in from page one.

SESSIONS END: 5:00

At 5 p.m., the day is done. Speakers will make themselves available by the workshop’s bookstore for a short while to sign any books for attendees.

Agent & Editor Pitching: All throughout the day.

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PITCH AN AGENT OR EDITOR:

ADDED ONLINE PITCHING : To ensure that writers have a robust and diverse lineup of agents & editors to pitch, 2024 Seattle Writing Workshop attendees will have the ability to also pitch literary agents at the Writing Day Workshops *online* event that follows the 2024 SWW on our calendar.

That event is the Pittsburgh Writing Workshop , May 31 – June 1, 2024, which will have 30-40 agents taking one-on-one Zoom virtual pitches.

This means that 2024 SWW attendees can have access to pitching all those online PWW agents — pitches still at $29 each — without being a formal registrant for the online May/June 2024 event. (That said, if you want to formally register for the Pittsburgh conference and have access to all classes and panels, let us know, as there is a discount for confirmed Seattle attendees.)

If you are interested in this added pitching opportunity, the first step is to get formally registered for Seattle. Following the SWW conference on May 11, 2024, we will be in touch with all Seattle attendees and ask them if they want to partake in pitching online agents at the 2024 PWW (May 31 – June 1) . At that time, you can communicate your pitch requests and purchase meeting time.

        More 2024 agents to be announced as they are confirmed. You can sign up for pitches at any time, or switch pitches at any time, so long as the agent in question still has appointments open.

These one-on-one meetings are an amazing chance to pitch your book face-to-face with an agent, and get personal, individual feedback on your pitch/concept. If the agent likes your pitch, they’ll request to see part/all of your book — sending you straight past the slush pile. It also gives you an intimate chance to meet with an agent and pick their brain with any questions on your mind.

(Please note that Agent/Editor Pitching is an add-on, separate aspect of the day, for only those who sign up. Spaces are limited for these premium meetings, and pricing/detail is explained below.)

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$199 — EARLY BIRD base price for registration to the 2024 SWW and access to all workshops, all day. As of fall 2023, registration is now OPEN. To register, just email [email protected] and say you want to sign up for the Seattle event.

Add $29 — to secure a 10-minute one-on-one meeting with any of our literary agents or editors in attendance. Use this special meeting as a chance to pitch your work and get professional feedback on your pitch. (Spaces limited.) If they wish, attendees are free to sign up for multiple 10-minute pitch sessions at $29/session — pitching multiple individuals, or securing 20 minutes to pitch one person rather than the usual 10. Here are four quick testimonials regarding writers who have signed with literary agents after pitching them at prior Writing Day Workshops events. (Our bigger, growing  list of success stories an be seen here .)

Add $69 — for an in-depth, personal critique of your one-page query letter from Chuck Sambuchino, one of the day’s instructors. (This rate is a special event value for Seattle Writing Workshop attendees only.) Registrants are encouraged to take advantage of the specially-priced critique, so they can send out their query letter with confidence following the workshop. Also, if you are meeting with an agent at the event, you’re essentially speaking your query letter aloud to them. Wouldn’t it be wise to give that query letter (i.e., your pitch) one great edit before that meeting?

Add $89 — for an in-depth personal critique of the first 10 pages of your novel. Spaces with faculty for these critiques are very limited, and participating attendees will either 1) get an in-person meeting at the workshop, if the faculty member is attending the live event, or 2) get a 10-minute phone call with the faculty member, and have notes passed along via email, if the critiquer is not attending the live event. Options:

• Historical fiction, romance, young adult contemporary (in-person meetings): Faculty member Noelle Salazar , a published novelist, will get your work in advance, critique the first 10 double-spaced pages of your book, meet with you at the 2024 SWW for 15 minutes to discuss her thoughts, and pass along written critique notes before or after the in-person meeting.
• Inspirational fiction, romance, historical fiction (in-person meetings) : Faculty member Bronwyn Scott , a published novelist, will get your work in advance, critique the first 10 double-spaced pages of your book, meet with you at the 2024 SWW for 15 minutes to discuss her thoughts, and pass along written critique notes before or after the in-person meeting.
• Romance, mystery, thriller, adventure. historical fiction (in-person meetings) : Faculty member Wendy Kendall , a published novelist, will get your work in advance, critique the first 10 double-spaced pages of your book, meet with you at the 2024 SWW for 15 minutes to discuss her thoughts, and pass along written critique notes before or after the in-person meeting.
• Women’s fiction, contemporary/mainstream fiction, literary fiction, young adult, and memoir (virtual critiques) : Faculty member Kimiko Nakamura , a literary agent and writing coach, will get your work in advance, critique the first 10 double-spaced pages of your book, meet with you online (Zoom, etc.) or by phone for 15 minutes sometime before the workshop to discuss her thoughts, and pass along written critique notes before or after the meeting.
• Children’s picture books and middle grade (virtual critiques) : Faculty member Brittany Thurman , a published author, will get your work in advance, critique the first 10 double-spaced pages of your book, meet with you online (Zoom, etc.) or by phone for 15 minutes sometime before the workshop to discuss her thoughts, and pass along written critique notes before or after the meeting. If you submit a picture book, it must be 1,000 words or fewer (can have illustrations or not).
• Commercial women’s fiction, thriller/suspense, thriller with romantic elements, cozy mystery, YA thriller, young adult in general, middle-grade, literary fiction, and fantasy (virtual critiques) : Faculty member Amberly Finarelli , a former literary agent and current writing coach, will get your work in advance, critique the first 10 double-spaced pages of your book, meet with you online (Zoom, etc.) or by phone for 15 minutes sometime before the workshop to discuss her thoughts, and pass along written critique notes before or after the meeting.
• Science fiction, fantasy, romance, horror, young adult SFF, urban fantasy (virtual critiques) : Faculty member Wesley Chu , a published novelist, will get your work in advance, critique the first 10 double-spaced pages of your book, meet with you online (Zoom, etc.) or by phone for 15 minutes sometime before the workshop to discuss his thoughts, and pass along written critique notes before or after the meeting.
• More critique options possibly forthcoming

How to pay/register — Registration is now open. Reach out to workshop organizer Chuck Sambuchino via email: [email protected] , and he will provide specific instructions for payment and registration to get you a reserved seat at the event. Payment is by credit card, PayPal, or check. Because Chuck plans different workshops, make sure you note that you’re inquiring about the Seattle workshop specifically.

REGISTRATION:

Because of limited space at the venue (Seattle Marriott Bellevue, 200 110th Ave NE, Bellevue, WA), the workshop can only allow 250 registrants, unless spacing issues change. For this reason, we encourage you to book sooner rather than later.

Are spaces still available? Yes, we still have spaces available. We will announce RIGHT HERE, at this point on this web page, when all spaces are taken. If you do not see a note right here saying how all spaces are booked, then yes, we still have room, and you are encouraged to register.

How to Register : The easy first step is simply to reach out to workshop organizer Chuck Sambuchino via email: [email protected] . Chuck will pass along registration information to you, and give instructions on how to pay by credit card, PayPal, or check. Once payment is complete, you will have a reserved seat at the event. The SWW will send out periodic e-mail updates to all registered attendees with any & all news about the event. Because Chuck plans different workshops, make sure you note that you’re inquiring about the Seattle workshop specifically.

Refunds : If you sign up for the event and have to cancel for any reason at any time, you will receive 50% of your total payment back [sent by check or PayPal]. The other 50% is nonrefundable and will not be returned, and helps the workshop ensure that only those truly interested in the limited spacing sign up for the event. (Please note that query editing payments and manuscript editing payments are completely non-refundable if the instructor has already edited your work.)

Get to Know an Agent in Attendance: Leslie Varney of Prentis Literary

She specializes in adult speculative fiction — science fiction and fantasy — for adults, young adult, and middle grade. Leslie has also established herself as a specialist in genre-bending fiction, enthusiastically representing authors whose works defy easy classification.

“It was never my plan to learn to read. In fact, I resisted it with all my five-year-old might, which was fairly significant. My favorite times were when my dad would read to me and I was afraid that when I learned to read myself, those lovely times would end. But my dad’s plan was different and his will was equal to mine. After many knock-down battles, and lots of Dick and Jane, I reluctantly learned.”

“I grew up during the mid-70s on my family’s hippie farm, situated in a small middle-class town in the Hudson Valley. This would have made me unique in any case, but the fact that we had no television was downright bizarre. While all my friends were watching re-runs of the “Brady Bunch” (again), I was re-reading “A Wizard of Earthsea” (again). Or “Watership Down”, “A Wrinkle in Time”, “The Crystal Cave”, whatever was around. Luckily for me, there were always books around. And, since my dad’s favorite books tended to the fantasy and science fiction genres, my house was a fantastic playground of interesting ideas and wonderful stories. I was known as the weird kid who always had a book with her. If you couldn’t find me, I was probably hiding in Oz. Instead of doing my boring chores, I was Laura Ingalls Wilder, and her chores were exciting frontier adventures! There were no limits when it came to stories and there was always somewhere wonderful to visit.”

“I am pleased as punch that now I get to help authors bring new worlds, new ideas, and new magic to the literary world. I will always love the oral story-telling tradition, but my appreciation for the written work knows no bounds and I love being a part of bringing that passion to new readers. It turns out that my dad’s plan was better than mine after all.”

Get to Know an Agent in Attendance: Micah Brocker of Corvisiero Literary

Micah has spent the last five years in the business world helping entrepreneurs and artists fulfill the financial and legal knowledge needed to succeed. It has been her lifelong dream to foster careers for all artists, in particular authors and screenwriters. At Corvisiero Literary Agency, she is interested in fostering her client’s careers from the start and building their businesses with them. ​ In both film and novels, she is interested in YA contemporary stories that deal with messy relationships and issues that can help young adults put words to their experiences. She is also looking for YA science fiction and urban fantasy that provide an escape while still helping us connect to the everyday troubles of growing up.

In adult fiction, she loves women’s fiction and upmarket fiction that deals with burdensome secrets, messy relationships, and a character with a deep desire to change their life, the world etc., especially with a psychological, sci-fi, or romantic twist!

Get to Know an Agent in Attendance: Alisha West of Victress Literary

“We work with all genres of literary and commercial fiction and nonfiction but are especially interested certain genres.”

In fiction, the agency seeks:

• Adult – Contemporary, Family Saga, Historical, Horror, LGBTQIA2+, Literary, Mystery, Suspense/Thriller
• Young Adult – Contemporary, Science Fiction, Fantasy, Historical, Literary, Mystery
• Middle Grade – Contemporary, Science Fiction, Fantasy, Historical, Mystery

In nonfiction, the agent seeks : cultural/social issues, history, humor, journalism, LGBTQIA2+, memoir, music, pets, sports, true crime, women’s issues.

The agency is NOT interested in : Picture books, religious, high fantasy, graphic novels, short stories, westerns, inspirational, business, finance, gardening, home decorating & design, religious, self-help, spirituality

Alisha has had a life-long love affair with stories, earning a BA in English and an MA in Women’s and Gender Studies. Her thesis, Exploring the Missing Pieces: Readers, Religion and Societal relations in One Magazine, 1954-1963, concerns one of the first widely circulated gay and lesbian magazines published in the U.S. (downloaded 300+ times). Her personal essay, “Walking Sweet Dee,” took third place in the Adult Short Topic category of the Pacific Northwest Writer’s Association’s Literary Contest in 2022.

After bonding with Lizz during the after party of the PNWA awards ceremony, Alisha jumped at the chance to join Victress Literary as an editorial assistant in November 2022. Because of her commitment, cheerleading, and creativity, she was promoted to Junior Agent in May 2023. Her favorite tasks include reading submissions and editing manuscripts from Victress clients.

When Alisha isn’t reading, editing or writing about women’s rights and queer history, she enjoys playing with her fur babies (Roary Gilmore, Sweet Dee and Charlie Kelly), practicing guitar, gaming, and watching all the best stories film has to offer with her partner, Matt.

Get to Know an Agent in Attendance: Katie Reed of Andrea Hurst & Associates

Katie began her career in publishing with Andrea Hurst Literary Management while pursuing her Bachelor of Arts in English and has worked in the publishing field for over a decade. As a literary agent, Katie loves discovering new talent, building lasting connections with her authors, and working diligently to represent books readers will love.

Katie currently works as an agent and literary scout, and is looking for compelling, standout projects to champion. She is open for submissions in the following genres:

• Commercial Women’s Fiction with a strong hook and market appeal
• Historical Fiction (Favorite authors include Ruta Sepyts, Kate Quinn, Kristin Hannah, Taylor Jenkins Reid)
• Women’s Suspense/Thriller (especially with unreliable narrators or an ending with an unforeseen twist)
• Fiction with a fantastical angle (a la The Midnight Library by Matt Haig)
• Retellings, similar to Circe by Madeline Miller
• Young Adult Contemporary or Fantasy
• Middle Grade

Get to Know an Agent in Attendance: Adria Goetz of KT Literary

Adria got her start in publishing as an intern at Martin Literary Management in 2013. She represents picture books, middle grade, graphic novels (all ages including YA), and adult fiction.

She graduated from the University of Washington with a Bachelor’s degree in English with a Creative Writing emphasis, as well as the Columbia Publishing Course. In 2019, she was selected as a Publishers Weekly Star Watch Honoree. Adria has eclectic taste but particularly enjoys projects that are tinged with magic, have so much heart you can practically hear their heartbeat, and have a compelling, commercial hook. In her spare time she can be found rewatching Gilmore Girls for the millionth time, listening to Taylor Swift, and dreaming about the mossy stone cottage in the woods she would like to live in one day.

“I look for books that delight readers, that help readers escape, that make readers feel seen, that help inspire wonder and imagination, that cultivate empathy and compassion, that comfort readers and make them feel safe, that take the reader on an adventure, that uncover fascinating stories from history’s footnotes, that make people laugh or cry or jump from fright, that ask nitty gritty questions and don’t settle for easy answers, that inspire reflection and conversation, that make people disappointed when they have to close the book and go to bed, and books that add a touch of magic to readers’ lives.”

PICTURE BOOKS WISHLIST:

• Picture book author/illustrators—I’m definitely open to receiving PB submissions from authors, but I am primarily looking for author-illustrators right now. I’m open to many different illustration aesthetics from hand-drawn to digitally rendered to collage/cut paper to more unconventional mediums. I love having a wide range of styles on my list, and the main thing I’m looking for is a unique, distinctive look. Some of my favorite illustrators include Juana Martinez-Neal, Vashti Harrison, the Fan Brothers, David Litchfield, Anne Lambelet, Brian Selznick, Carson Ellis, Frank Morrison, and Emily Winfield Martin.
• Humor—I want the next hilarious, commercial-feeling, NYT Bestseller. It’s important to me that kids really love and are delighted by the books I represent. Since humor is a great entry point into reading for kids who are intimidated by books, I take silly books seriously. 🙂 Some of my favorite humor-driven books are: We Don’t Eat Our Classmates, Dragons Love Tacos, The Bad Seed series, Where Bone?, A Spoonful of Frogs, The Day the Crayons Quit, Miss Hazeltine’s Home for Shy and Fearful Cats, and Rot: the Cutest in the World.
• Family Narratives—I love books about families and their everyday experiences, especially when the story shows nurturing adult characters. For me, the more specific the story, the better. Examples: Hair Love, Bedtime Bonnet, My Papi Has a Motorcycle, Under My Hijab, Alma, Julian is a Mermaid, Halal Hot Dogs, Tell Me a Tattoo Story, The Ocean Calls.
• Magical books—I love magical stories that feel like the type of book that will stick with a child throughout their life. I love stories that feel like original fairytales/folktales, if that makes sense. Fairies, mermaids, elves, and ghosts are all friends of mine. Anything by The Fan Brothers, David Litchfield, and Emily Winfield Martin. A few of my favorite magical books: The Night Gardener, The Antlered Ship, The Bear and the Piano, The Cloud Spinner, The Fantastic Flying Books of Morris Lessmore, and Lights on Cotton Rock.
• Adventures—I would love to see more adventure stories in my inbox! Examples include The Greatest Adventure, It’s Not a Bed It’s a Time Machine, Ocean Meets Sky, Stella’s Stellar Hair, and the upcoming masterpiece In the Groves.
• Mermaids—Send me all of your mermaids!! What kind of mermaid have you not seen before? I love when fantastical stories are pure fun but can also provide meaningful yet whimsical representation. I was so excited to get to work on Mermaid and Pirate and am eager to have more mermaid stories on my list.
• Karaoke—I’d love a joyful picture book about karaoke, sort of like the karaoke equivalent of Hip-Hop Lollipop.
• Traditions—I love picture books about family traditions/cultural traditions, especially when there is food, cooking, baking, or recipes involved. I’d also love to see other family traditions, like holiday traditions (loved Night Tree, Mooncakes, The Christmas Book Flood), faith traditions or rituals, house-cleansing or blessing ceremonies/traditions, etc.
• Food—I love picture books about food! Some of my favorites are Amy Wu and the Perfect Bao, Fry Bread, Tomatoes for Neela, Halal Hot Dogs, and Anni Dreams of Biryani, Plátanos are Love.
• Atmospheric—I love a unique atmosphere/strong sense of place in books across the board. Because picture books are fully illustrated, they create the unique opportunity to create a really visually dazzling atmosphere. I think Hello Lighthouse is a great example of this.
• Spooky—I love spooky stories! (And I loved them as a kid too.) Ghosts, haunted houses, cobwebs. Some of my favorites include How to Make Friends with a Ghost, and The Ugly Doodles.
• Creativity—I love picture books about art and creativity, like the The Dot, Ish, The Ugly Doodles, The Wonder, The Storytellers Rule, and Beautiful Oops.
• Sisters—I grew up in a household of four girls, so any stories about sisters will have a special place in my heart!
• Cats—It’s honestly upsetting (to both me and my two cats) that I don’t have a cat picture book on my list yet. Somebody please remedy this for me!

MIDDLE GRADE WISHLIST:

• Magical Realism or Fantasy—I love any stories with light touches of magic or fantasy that are still accessible to readers who aren’t “genre readers.” I tend to prefer fantasy that is grounded in the real world. Some of my favorite magical MG tales include Circus Mirandus, No Ordinary Thing, and The Elephant’s Girl. I’d be delighted to work on a fresh-feeling mermaid story. And I’d love to see anything that is set at a magical boarding school or academy.
• Graphic Novels—I am open to taking a look at anything here, especially contemporary realistic, magical realism, fantasy, and historical fiction. I’m really eager to work on a historical fiction GN. Some of my favorite MG graphic novels: Pashmina, Witch Boy, and Measuring Up. I’d also like to put out into the universe: I would love to find the next Brian Selznick type of creator that doesn’t shy away from hybrid, unconventional formats.
• Historical Fiction—I am a history lover and enjoy historical fiction that feels like it’s shining a spotlight on a historical footnote type of story that was glossed over by textbooks. I want to see a hook/premise that I think will appeal to young readers, and an engaging voice. I’m open to epistolary novels or novels in verse as well. Examples: Brown Girl Dreaming, Ship of Dolls, House Without Walls, and Indian No More.
• Mystery—I’m hungry for a good mystery! I will never forget reading The Dollhouse Murders when I was in fifth grade and having to close the book for a moment because I was so scared. (But I loved it.) I want to work on books that inspire that same level of book-induced fright! Give me an Agatha Christie-esque whodunit. I especially love mysteries that have a little cheekiness to them.

YOUNG ADULT WISHLIST:

• Graphic Novels—Right now in the Young Adult space, I am exclusively focused on graphic novels. (I do represent YA novels if preexisting clients write them, though!) I’m open to a wide range of genres and art styles here. I’d especially love to find something very atmospheric where the setting is a crucial element to the story. My favorites include Pumpkinheads, The Prince and the Dressmaker, The Girl from the Sea, Isla to Island, and Batter Royale.

ADULT FICTION WISHLIST:

• Upmarket/Book Club Fiction—If you dream of Reese Witherspoon ushering you into her book club, then I want to see your work! When I think of upmarket/book club fiction, I think of stories with wide appeal that are engaging and accessible reads, but still have enough layers to lend themselves well to discussion. I love the feeling when I finish reading a book and immediately need to talk to someone about it. I love interesting voices/POVs, rhythmic language, and I’m a sucker for a dual timeline. The biggest thing I’m looking for is a good hook and a compelling writing style. I always love humor and heart too. Some of my favorites include Lessons in Chemistry, The Seven Husbands of Evelyn Hugo, Violeta, Where’d You Go Bernadette, Daisy Jones & The Six, Room, Tomorrow and Tomorrow and Tomorrow, All the Lonely People, and A Man Called Ove.
• Thrillers/Mystery—I love pageturning thrillers, and want to work with people who want to build their careers around writing them. I’m really looking for a hook here. I love Gillian Flynn, Jessica Knoll, and Lisa Jewell. I would love to see a fresh take on the genre from a POV we haven’t seen featured as prominently. Some of my favorite thrillers include Luckiest Girl Alive, The Woman in Cabin 10, Final Girls, Verity, Sharp Objects, Dark Places, and Then She Was Gone. I’d love to work on something as atmospheric as Lavender House and The Only One Left. I would also love to see something more in the mystery category that has a cheeky tone and engaging voice and feels very smart like The Maid or Vera Wong’s Unsolicited Advice for Murder.
• Romance/Romantic Comedies—I’d love to receive more rom com submissions! I’m especially looking for something with a great commercial hook and an interesting protagonist. I welcome tropes of all stripes, especially enemies to lovers, slow burn/friends to lovers, fake relationships, grumpy/sunshine, forced proximity, and so on. Some of my favorites: Beach Read, The Unhoneymooners, Real Men Knit, Maybe in Another Life, The Flatshare, The Rosie Project, Waiting for Tom Hanks, Red, White, & Royal Blue, and The Suite Spot. I’d love to see some speculative rom coms too, like The Ex Hex and The Dead Romantics.
• Cozy Fantasy/Magical Realism—I love stories with light touches of magic/speculative elements such as magical realism, grounded fantasy, cozy fantasy, and magic-tinged rom coms. Think “a little bit of magic and a whole lot of heart” like The Inheritance of Orquídea Divina, The Very Secret Society of Irregular Witches, Emily Wilde’s Encyclopaedia of Faeries, The House in the Cerulean Sea, The Unfortunate Side Effects of Heartbreak and Magic.
• Unique Format—I love stories that are told in unique formats, whether that be epistolary (Love & Saffron), e-epistolary/mixed media (Where’d You Go Bernadette), transcripts (like Daisy Jones & The Six), a unique POV (think Room), or a mix of things like Acts of Violet. If it’s slightly outside a traditional novel format or voice, send it my way!

NOT QUITE MY CUP OF TEA:

Memoirs Sports stories (I quit tee-ball when I was 4 and faked stomach aches to get out of P.E., so I’m afraid I am not your gal.) Space operas Amish fiction Angels/Demons Ancient historical fiction Shakespeare-inspired projects Greek mythology Arthurian legend-inspired projects High/Epic SFF (Several of my fantastic colleagues at KT Literary do work in this space though—check them out!) Military/FBI/espionage thrillers Dystopian

Get to Know an Agent in Attendance: Scott Eagan of Greyhaus Literary Agency

Scott  opened Greyhaus Literary Agency in 2003 with three goals in mind:

• To remain a small agency focusing only on romance and women’s fiction • To provide educational opportunities for writers in these genres and to make efforts to enhance the romance and women’s fiction genres. • To assist with increasing communications between the professional publishing community and the writers.

Being a small agency as well as being focused on a small number of genres allows me the chance to work closer with my writers as well as staying up with the every-changing trends in romance and women’s fiction.

Greyhaus Literary Agency is officially RWA-Recognized.

Scott’s education includes a BA in English Literature, A MA in Literacy and a MA in Creative Writing. Scott is an active member of the Romance Writers of America and still dabbles in writing as a hobby. Outside of the agency, Scott is an instructor with the UCLA Extension Program teaching in the Publishing. He also provides critiques with Writer’s Digest and does book reviews with Publishers Weekly . His family continues to keep him busy with one who swims competitively, one who rides Hunter/Jumper equestrian and one who dances.

Get to Know an Agent in Attendance: Kate Rogers of K.O. Media Management

Kate loves stories with graphic/illustrated elements or multimodal components. All ages (children’s books, middle grade, young adult, and adult) welcome, as long as there is a visual component! Genres include humor, horror/thriller (bonus if it’s entry level for a younger audience!), romance, light sci-fi, light fantasy (not currently open to high-fantasy of any kind), contemporary realistic fiction, and narrative non-fiction. She is interested in diverse, character-driven narratives that subvert familiar tropes or conventions. Bonus points if your story includes non-conventional, interactive formats.

Kate has worked in customer service at Vroman’s Bookstore in her hometown of Pasadena, California, and as the Assistant Director for Communications and Marketing for Stevens Court Community Council in Seattle. A University of Washington graduate with a double major in English and Cinema Media Studies, Kate can often be found reading, checking movies off her watchlist, or painting (sometimes even at the same time!).

Get to Know a Literary Scout in Attendance: Rae Loverde of Donald Maass Literary Agency

At the 2024 SWW, she will be acting as a literary scout — taking pitches at the workshop on behalf of one or multiple co-agents at her agency.

Her co-agent Cameron McClure is seeking the following:

• projects that combine genre style plotting with literary quality writing
• anything speculative
• science-fiction and fantasy
• mystery and suspense
• projects with multi-cultural, international, environmental, and LGBTQIA+ themes.
• Some of Cameron’s clients include Robert McCammon, Robert Jackson Bennett, Ada Palmer, Micaiah Johnson, Jonathan French, S.B. Divya, Molly Tanzer, Andy Marino, Ruthanna Emrys, and Amy Alkon.

She is interested in adult genre fiction only — no YA or MG. And she is not interested in adult literary fiction, mainstream fiction, women’s fiction, or chick lit.

Get to Know an Agent in Attendance: Kesia Lupo of The Bindery

“I’m currently Associate Literary Agent at the Bindery, a boutique agency based in Colorado – although I’m personally based in the Bay Area. I am actively building my list of primarily fiction writers. Although I started at the Bindery in May 2023, I have over ten years of experience in the publishing industry.

“In my last job, I was Senior Editor at UK children’s book publisher Chicken House, where I’d been working my way up from Junior Editor since 2015. Here, I acquired and edited children’s fiction for middle-grade and YA readers and worked with wonderful writers including Jasbinder Bilan, James Nicol and Emma Read (MG) and Ben Oliver, Molly Morris, Naomi Gibson and Mellissa Welliver (YA). I consider middle-grade and YA my specialty and would love to represent authors writing for these age-groups.

“I started my career as an assistant at Pan Macmillan London back in 2013, largely working for wonderful SFF/Horror imprint Tor – I loved the authors I worked with there who included Adrian Tchaikovsky, Adam Nevill and Genevieve Cogman. I’d love to return to my roots and represent adult genre fiction in SFF and Horror.”

She is seeking:

“I’m an omnivore in my reading taste and I would love my list to reflect that – so, while I’ve tried to be exhaustive, if you have something that doesn’t quite fit then please don’t hesitate to query anyway! In general, I’m looking for fiction for middle-grade, YA and adult readers – with a smattering of popular, accessible non-fiction.

“Across age groups, I’m a big fan of original fantasy, accessible but smart science fiction, paranormal or creepy horror, thrillers (especially if they have a shocking twist!), dark academia and basically all stories that help me escape or make me question everything.

“I majored in History so I love a bit of historical fiction too, as long as it’s done in a fun and accessible way – and I enjoy romance. For nonfiction, I’m looking at narrative nonfiction with broad appeal – I love books about psychology and big political, cultural or historical topics.”

• Narrative Writing Classes

UPCOMING NARRATIVE WRITING CLASSES

Narrative Writing Class: Revising Your Life (Fall 2024)

Narrative Writing Class: The Nature of Narrative (Spring 2024)

Narrative Writing Class: Writing for Story (Summer 2024)

The art of narrative writing.

Do you have a compelling story? Want to learn the craft of narrative writing? Dr. Nick O’Connell teaches time-honored principles with a relaxed style in a sequence of four enjoyable Seattle writing courses. From nut graph to structure, from lead to climax, Nick has transformed my writing career from scientific researcher to riveting narrative non-fiction author.

– Dr. David G. Embrey is a freelance writer from Puyallup, Washington.

Narrative writing is perhaps the greatest of the literary arts, allowing writers to tell compelling stories, reach a wide audience and satisfy some of their deepest yearnings for pattern, mystery, and coherence in their lives.

While narrative writing allows for great scope and ambition, it also demands mastery of form and structure to succeed. An ability to manipulate form and structure allows a writer to create stories that entrance readers and transform their lives. The mastery of these techniques does not come easily, alas. It requires commitment to the habit of art to write excellent fiction or creative nonfiction.

My Seattle writing classes will help you develop your own habit of art, mastering the craft of narrative writing essential to creating fiction and nonfiction stories. Each quarter I offer a Seattle-based writing class in narrative writing for creative nonfiction and fiction. The emphasis varies from writing class to writing class, but all of the courses provide detailed, constructive criticism of your stories and book chapters.

The four writing classes form a sequence, introducing you to all the essential elements of creative nonfiction and fiction writing: dramatic scenes, scene by scene construction, character sketches, research and interviewing, first and third person point of view, story ideas, dramatic outlines and publishing strategies. They may be taken independently, but altogether they give you a comprehensive introduction to the art and craft of narrative writing. You’ll learn more about the craft of writing than you would in most MFA programs, at a fraction of the cost.

Every one of the narrative writing classes requires that participants write a story or book chapter, revise it, and prepare it for publication. This focus on honing and perfecting the prose and finding a suitable outlet for it has resulted in students making real breakthroughs in their work. Many have gone on to publish their stories in magazines like Newsweek and the New York Times Magazine and sell their books to prominent publishing houses worldwide – read Reviews here .

The writing classes take place generally on Wednesday evenings from 7 to 9 p.m. PST via Zoom and in hybrid format in the historic Good Shepherd Center in Seattle’s Wallingford neighborhood, headquarters of Seattle Tilth and a number of arts and nonprofit organizations. Enrollment is limited to 15.

Cancellation policy: Full refund up until the first night. After the first night, there will be no refund, save for a family or personal emergency. In the event of such an emergency, I will give you credit toward taking another class or a doing an online class with me.

Sign up early. The classes usually fill several weeks prior to the starting date. Please feel free to contact me if you have more questions and would like to enroll.

Nicholas O’Connell 206.284.7121

It is wrong to have an ideal view of the world.

Pleasure in a good novel…

Writing a novel is a terrible experience.

For some of us, books are as important as almost anything else on earth.

…with luck and if you stated it purely enough, always.

Just follow your hero.

There are only two or three human stories.

The forms of things unknown and the the poet’s pen…

Don’t try to figure out what other people want to hear from you.

Literature is nothing but carpentry.

One false word, one extra word…

The difference between the right word and the almost right word…

Get it down. Take chances.

• Travel Writing Classes
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More about our degrees

Delve into the wide variety of courses you can explore in your English major or minor at Seattle University.

• All Programs
• English, BA & English & Creative Writing, BA
• More About our Degrees

In English and English/Creative Writing, we have designed our courses to open your mind, ignite your imagination, strengthen your critical and creative powers, broaden your literary and historical understanding, and promote powerful encounters with the world that will deepen your commitment to social justice.  English majors have the opportunity to supplement their coursework with cross-listed offerings in Film Studies, and vice versa.

Our professors are committed to your intellectual and creative development.  In the Jesuit tradition, we are committed to your personal and professional formation as well.

As an English major, you'll benefit from award-winning teaching in seminar-sized classes, careful advising throughout your degree, and workshops preparing you for careers and graduate school.

Internships are opportunities to network and gain valuable professional experience. English and CW students can take 5 credit internships as general electives, while Writing Studies students must take internships that are writing related toward their minor. Your faculty will help you make connections and you will work with our Pathways to Professional Formation program.

Additional opportunities enjoyed by our students have included Artist Trust, Public Leadership Education Network, Washington State Democrats, Starbucks Coffee Company, Hugo House, Seattle International Film Festival (curating), American Civil Liberties Union of Washington, Seattle Art Museum, Old Growth Northwest (producing an anthology related to poetry in the prisons) and King County, Washington, eNotes and Wave Books.

Your career path

The major in English is excellent preparation for careers in law, journalism, advertising and marketing, technical writing, video games, media, and many other fields, as well as for advanced degrees in literary studies, creative writing, rhetoric and composition, women and gender studies, cultural studies, teaching, and other disciplines in the humanities.

The faculty and students in English belong to a discipline that remains at the heart of a liberal arts education. Together, we aim to cultivate

• The power of expression, in all its variety;
• The pleasures of reading complex literary texts, visual images, performance works, and cultural objects;
• Different kinds of literacies (e.g., understanding cross-cultural rhetorics, reading images and visually-constructed meanings, and developing technological/informational fluency);
• Critical inquiry, analysis, and argumentation, which are fundamental for virtually all intellectual pursuits and many kinds of careers; and
• Creative thinking, reflection, imagination, and insight.

These strengths, skills, and abilities continue to make English not just a mainstay of core education in general but also a major asset on your professional résumé.

Sample English Courses

The English Department offers a wide variety of literature courses on range of exciting topics.  We welcome you into our curriculum, where you might enjoy some of the classes below.

Apocalypse in Film and Literature takes students on a journey to other galaxies and others' worlds.  You will meet strange beings, fight cosmic battles, view the end of time and the afterlife, and discover ultimate horizons and hopes.  The course's texts and films include H.G. Wells's War of the Worlds , Arthur Clark's 2001 , Walter Miller's Canticle for Leibowitz , Walker Percy's The Thanatos Syndrome , Doris Lessing's Memoirs of a Survivor , Terence Malick's Tree of Life , Cormac McCarthy's The Road , as well as Elysium, The Day After, and Enders Game.

In this course, we consider the historical and personal contexts of numerous American women writers and discuss the role that literary criticism and contemporary feminist scholarship play in our interpretations. In the first half of the course, we discuss studies in early American women's writing. During the colonial period, women who were in the New World rarely expressed themselves through writing, with only a few notable exceptions, Anne Bradstreet and Mary Rowlandson, two Puritan women writers who had to negotiate their social positions carefully and cautiously.  Throughout the 17th and 18th centuries, American women writers were rarely read or taken seriously, even though they offered unique perspectives on the colonies and emerging nation.  Even in the 19th and 20th centuries, American women writers have continued to deal with sexism in the literary marketplace, and there are still many hurtles that women writers must overcome.  For example, in her 1997, revised introduction to her 1963 publication of The Feminine Mystique , Betty Freidan insightfully writes, "sexual politics now feeds the politics of hate and the growing polarization of America" (xviii).  American women writers of today are shaping and molding contemporary feminisms, and we will explore these emerging feminisms through the works of Leslie Marmon Silko, Sandra Cisneros, and others.

• Are you fascinated by language and by how English has changed over time?
• Would you like to learn about linguistics?
• Would you like to know why the plural of "dog" is "dogs," but the plural of "mouse" is "mice"?
• Are you intrigued by the fact that Old English seems so different from Present Day English?
• Do you get upset when you see a split infinitive? Or, do you get upset when someone gets upset about your split infinitives?
• Do you wonder why American English sounds different in the South than it does in the West or in the Northeast and why people are often biased when they hear those differences?
•  Are you wondering about the complex political, social, economic implications of the uses of English as a global language?

HEL (History of the English Language) traces the historical development of the English language from its origins to the present time. In order for students to understand this development fully, they are introduced to basic concepts in linguistics, such as phonology, morphology, syntax, and semantics. We also review briefly the basics of grammar at the beginning of the quarter. Our basic goal is to understand the development of English by studying both its internal history (changes in sounds, vocabulary, inflections, syntax) and its external history (political, social, and cultural factors that have influenced such development). A significant amount of memorization is involved in this class, but debate and critical thinking are also highly encouraged. We will discuss broad questions, such as the following: What is language? Why do languages evolve? What are the forces that influence their development? We also discuss specific questions-for instance, what are the particular factors that have contributed to language change at specific moments in the history of English? At the end of the course, we pay special attention to English in our contemporary world and discuss the question of English and globalization as well as some of the issues that are the subject of current and controversial debates in the United States, for instance, African American Vernacular, or the English Only movement.

This class investigates various forms of the marvelous as they appeared throughout the Middle Ages. While we certainly deal with dragons, griffins, and lion-headed men, we also deal with marvelous encounters that are more intimate: the ways in which the category of the monstrous was used to define women as opposed to men; the miraculous visions and powers of saints; the interactions between the living and the dead in both "real life" and in dreams.

How and why did twentieth-century culture explore the meanings and experiences of moving in time, and what visions of human life are the result?  How is the obsession with time in modernist art and literature related to the cultural fantasy of time travel and alternate history?  How are contemporary desires to go back in time, redeem history, or experiment with sequence indebted to modernist time culture?  To fashion an answer for yourself, you'll be part of an interdisciplinary discussion that will draw on cultural history, literary theory, and media studies.  The texts we'll explore together include:  H.G. Wells's novel  The Time Machine  , T.S. Eliot's "The Love Song of J. Alfred Prufrock," Jorge Luis Borges's short stories "Funes the Memorious" and "The Garden of Forking Paths," selections of modernist art, Philip Dick's alternate-history novel  The Man in the High Castle  , Chris Marker's film  La Jetee   and Terry Gilliam's remake  Twelve Monkeys  , Christopher Nolan's  Memento  , James Cameron's  The Terminator  , and Sample short fiction from  Best Time Travel Stories of the 20th Century .

Literatures of the United States of America (a.k.a. American literature) express a multiplicity of perspectives, imagined realities, and lived experiences. Even before the existence of the nation, literatures of early America represented a diversity of ideas in relation to place, faith, identity, and culture. At the same time, the study of American literature risks erasing literary diversity by focusing on only well-known texts written by established and recognized authors. In this course, we debate this point and discuss how to engage in a multicultural and multiethnic examination of American literary history. We examine key texts that represent ethnic and multicultural views of the American experience. American literature is incredibly diverse, often challenging literary and social conventions, and literature in all of its forms invites controversy, requires rigorous intellectual debate, and has the power to change the course of human thought and behavior. The texts we study in this course invite our careful analysis, and we discuss the ethical and methodological foundations for our analyses.

Sample Creative Writing Courses

The English Department offers a wide variety of Creative Writing courses on range of exciting topics.  We welcome you into our curriculum, where you might enjoy some of the classes below.

Slam Poetry is a term used to describe the style of writing and performance that has taken the world of poetry by storm since the inception of the "Poetry Slam" in the late 80's. But what is the slam style of poetry? And what is a poetry slam? In this course, we will dive deep into those questions and their answers. A main focus of this class will be to discuss, evaluate and analyze past and present slam poems, poets and styles both on the page as well as in performance. To observe what makes these poems effective, powerful, and moving within the craft of writing and what skill the poets employ to bring those poems to life on the stage. The goals of the course will be to for you to gain the skills to write well-crafted poems (imagistic, personal, and evocative) and to then employ the performance style that will best serve the theme and voice of each piece.

While combining words and pictures to tell a story dates back to the ancient Egyptians, the combination of the two has developed rapidly since the turn of the last century, in the forms of comic books and comic strips.  Moreover, the last few decades has seen a huge expansion in the use of this distinct medium, especially in the form of long term story telling (i.e.: "graphic novels"). 

This course will go over the history of comic art over the last century in order to familiarize the students with its many achievements and applications, while also providing inspiration for your own ideas.  We'll also discuss the basic language and techniques employed by comic writers and artists to better prepare you for your own assignments.

Writers and readers are drawn to Young Adult fiction for a variety of reasons: the compelling plots of books like The Hunger Games , the unique characters that bring John Green's novels to life, Melissa Marr's exquisitely-built fantasy worlds, and the stories like Laurie Halse Anderson's Speak  and Jay Asher's Thirteen Reasons Why  that help teens survive a sometimes dark and troubling world. In this class, we'll examine all of these aspects of YA Fiction.We'll read YA books from multiple genres as models and for inspiration. Through a variety of writing exercises and discussion, we'll explore character, point-of-view, plot, construction of scene, setting, theme, and teen voice. You will begin to work on your own Young Adult novel in the genre of your choice. There will also be time spent on peer review and workshopping, revision, and an in-depth discussion of the business of publishing YA books. By the end of the course, you will have at least two revised chapters and a synopsis to guide you toward completion of a publishable quality YA novel.

This course takes a practice-based approach to screenwriting, engaging the Aristotelian foundations of story, plot, character, dialogue, and conflict within the framework of the individual writer's lived experiences. You will write scenes on a weekly basis and we will read and critique these scenes during workshop. This scene work prepares you to produce a final short film screenplay. With the filmmaking tools of the 21st century taken into account-inexpensive video cameras and audio recorders, self-promoted internet distribution, and handheld devices that literally put cinematic experiences in our hands-you will write screenplays that can be independently produced on a low/no-budget basis. Your final scripts will have the option of getting produced (either by you or someone else) in subsequent sections of Narrative Filmmaking and Filmmaking I.

Foreign lands and faraway places have captured the minds of readers and writers for centuries. In this creative writing class, we will explore the methods, styles, and ethical dimensions of writing about people and places around the world. From foundational stories like The Odyssey  and Gilgamesh  to spiritual journeys from Dante to Margery Kempe, travel-and the new insights that it can bring-has been a seminal means of intellectual and scientific discovery in western civilization. Recently, with the smashing success of bestsellers like Elizabeth Gilbert's Eat, Pray, Love , travel writing has become so popular that major New York publishing houses have begun to devote entire imprints to a steady supply of tourism-based work from "writers who travel." At the same time, cultural critics caution writers-particularly those from countries with relatively more economic and political power-about the potential dangers of typecasting or misrepresenting the people and practices that they encounter abroad. In this class, we will examine both historical foundations and contemporary trends in tales and testimonies of travel, and we will practice writing about places near and far. As part of this work, we will explore various motivations for travel writing-journey, discovery, politics, storytelling, meditation, commerce, and self-discovery-as well as the ethical complexities that accompany them. Students will be introduced to the pertinent craft components of storytelling as they relate to travel, and they will be invited to write about place, travel, and community in a variety of formats. In addition, we will consider commercial aspects of travel writing, including publication venues, paying markets, and the lifestyle of a travel writer.

The idea of writing a full-length book can be exciting, intimidating, and mind-boggling. You might ask yourself, "How do I begin?" Or, "How much is enough?" What is  the process for planning and completing a book-length work of fiction, and how should such a work ultimately be put together? This class takes on these and other related questions in order to introduce you to the process, craft, and industry of writing longer fiction. Through analysis of craft essays by working writers as well as several book-length works, we will consider core principals related to structure, time, theme, and characterization. Alongside these discussions, we will survey the principle forms that longer fiction takes in today's market: novels, novellas, multi-perspective novels, vignette-driven novels, and story cycles. Your own work in this course will include original writing that will contribute to a larger work-in-progress that you will summarize and outline by the end of the term. Full-class workshops will provide you with feedback on your work, and additional professionally-oriented assignments will introduce you to the process of seeking publication for book-length works of fiction.

Sample Minor Courses

This course moves beyond a "micro" focus on grammar and punctuation basics to work on "macro" issues of polish and persuasion.  It teaches you how to recognize and recreate varying complexity in sentence structure and expression, to understand appropriate writing styles for different contexts, and to strengthen your writing through careful attention to transitions, strong/active word choice, coherence, and persuasiveness. It will help you appreciate the stylistic choices that writers make for rhetorical effect as you learn how to achieve these effects in your own writing.  As you learn how to edit and strengthen your and others' writing, you will improve the sophistication and elegance of your prose.   ENGL 2135 Grammar and Punctuation leads naturally into this course but is not a prerequisite.

This course focuses on the theory and practice of argument, approaching argument as a process of inquiry, of carefully considering alternative views and multiple sources, and of building your own reasoned arguments.  At this historical moment in the United States, a number of philosophers, journalists, analysts, and scholars have underscored the importance of argument in the functioning of democracy. Besides studying the principles of classical argument as an important preparation for diverse careers and your role as a citizen, you will learn Rogerian communication and listening rhetoric as a means of having what social conflict managers call "difficult conversations," leading to cooperative and collaborative problem solving.  As you write different genres of argument (academic and civic) and different types of arguments (definition, causal, evaluation and proposal) for audiences of your choice, you will hone your rhetorical skills and develop control, elegance, and grace with your prose style.  This foundational course in the Writing Studies Minor is useful to all majors, especially to students heading for careers in law, education, the arts, public leadership, business, the environmental field, and English studies.

This course offers an opportunity to think about writing, its cognitive demands and its personal rewards, as you focus on yourself as a writer.  The course's three main goal are (1) to acquaint you with the developments in composition theory and the teaching of composition from the last thirty years; (2) to give you an opportunity to work creatively and reflectively on your writing from the vantage point of this theoretical knowledge; and (3) to help you think out ways you might use writing as a professional in your career, or perhaps as a teacher, tutor, or supervisor.  In order to further your growth as a competent, confident writer, this course examines different theoretical approaches to writing and the teaching of writing as well as discusses writing process strategies, including ways to generate ideas and tap your creativity, overcome writer's block, and revise your writing more effectively. The writing for this course-in personal, academic, and civic genres-will give you different writing experiences to nurture your development as a versatile, reflective, sophisticated writer.

Literatures of the United States of America express a multiplicity of perspectives, imagined realities, and lived experiences although the diversity of literatures of early America have sometimes been erased or eclipsed by focusing on only well-known texts and authors. This course discusses how to engage in a multicultural and multiethnic examination of American literary history, with a specific emphasis on multiethnic rhetorics and the importance of written expressions to civil rights movements. An examination of diverse perspectives in American literature offers glimpses into the past and an underchristanding of various literary, social, and multicultural movements while simultaneously challenging readers of today.  This course is designed to prepare you to understand advanced literary inquiry and participate in written debates as well as to write clearly and concisely for various audiences.

This course explores the historical development of the English language from its origins to the present time. In order to understand this development fully, you will be introduced to basic concepts in linguistics, such as phonology, morphology, syntax, and semantics. This course traces the development of English by studying both its internal history (changes in sounds, vocabulary, inflections, syntax) and its external history (political, social, and cultural factors that have influenced such development).  This study involves a significant amount of memorization, but it also promotes lively debate and critical thinking about language: What is language? Why do languages evolve? What are the forces that influence their development?   What particular factors have contributed to language change at specific moments in the history of English?  The end of the course will explore English in our contemporary world and will discuss the question of English and globalization as well as controversial issues such as "Ebonics" and the English Only movement.

This course is geared toward writing opinion for public readership in the form of Op-Eds, personal and political essays, critical arts reviews and guest columns in a variety of media platforms including print and digital writing. Students learn strategies for generating ideas and persuasive arguments  for editorials, columns and reviews; students build blogs and develop a persuasive and critical voice needed for writing in digital formats. This course teaches journalistic research, source development, and writing for shaping public opinion in traditional and new media.

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English, Literature, and Writing Studies

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Pathway Overview

Program Pathways are a series of courses and experiences carefully selected to help you earn your credential and prepare for your career or university transfer. Program Pathway Maps guide you through quarter-by-quarter coursework, indicate when you’ll need to complete important steps, and describe popular careers in this pathway. Some course sequences or recommended courses can be customized or adjusted by speaking with an advisor .

English, Literature, and Writing Studies Associate of Arts - Direct Transfer Agreement (LASDTAA)

View Program Map

• Units to complete: 90-93
• Estimated program length in quarters: Full Time - 6

Program lengths are estimates, not guarantees. For the most current program information, please check with the program contact.

The English department offers courses in literature, creative writing, composition and pre-college English. The department also supports the Bruce McKenna Writing Center at Seattle Central. Strong reading and writing skills are invaluable as students continue their education and crucial to almost any career path they may be considering.

English courses help us to see ourselves in relation to the world, examine the world from diverse and complex perspectives, and enrich our lives. Writing and literature courses open our eyes to new ideas and possibilities and teach us how to speak up for ourselves and for others.

Write for The Seattle Collegian , Central’s independent student-run news publication!

English Courses Offered

In addition to general writing classes, we offer:

• American Literature III
• Asian American Literature
• Creative Nonfiction
• Creative Writing
• Digital Literature
• Introduction to Drama
• Introduction to Fiction
• Introduction to Literature
• Introduction to LGBT Literature
• Introduction to Poetry
• Literature & Society
• Science Fiction
• English Language & Linguistics
• Translation for Global Competence

Course offerings change annually. Check the class schedule for the latest offerings.

Career Possibilities

What career isn’t possible with strong reading, writing, and critical thinking skills? Students in almost every major and career paths, such as business, law, education, and more, benefit from completing English courses.

• Journalism, media writing
• Publishing, editing, literary agency
• Communications, marketing, copywriting, media relations
• Non-profit sector, community organizing, advocacy
• Translation, interpretation, subtitling, game localization

Writing and Literature Organizations

• Association of Writers & Writing Programs (AWP)
• Modern Language Association (MLA)

Helena Ribeiro Full-time Instructor

Jeb Wyman Full-time Instructor

Barbara Kline PHL Part-time Instructor

Douglas Cole Full-time Instructor

Takami Nieda Full-time Instructor

Dr. Anna Shaver Full-time Instructor

Susan Casey PHL Part-time Instructor

Peggy Baldwin PHL Part-time Instructor

Laura Sinai PHL Part-time Instructor

Elizabeth Whitley PHL Part-time Instructor

Phebe Jewell Full-time Instructor

Greg Bachar PHL Part-time Instructor

Steve Woods Full-time Instructor

Shelley Douma Full-time Instructor

Paul Croon Full-time Instructor

Kaitlin McClanahan Full-time Instructor and Faculty Coordinator

Desiree Simons Full-time Instructor

Erin Steinke Full-time Instructor

Dr. Jordan Charlton Full-time Instructor

Alec Fisher Full-time Instructor

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Creative Writing Scholarships and Prizes

The prizes and scholarships below are awarded by the UW Seattle English Department’s Creative Writing Program . Winners will be notified by the end of Spring Quarter. 

Prizes will be awarded at the end of Spring Quarter. Scholarships will be paid out in the following academic year.  During the term of the scholarship, recipients must enroll in a minimum of 6 credits.

The application deadline for these awards is the last day of Winter Quarter (March 15, 2024) at 5pm Pacific Time, unless otherwise indicated.

Requirements

Unless stated otherwise in the Contest Description , eligibility requirements for the prizes below are the following:

• Either a UW Seattle English major enrolled as an undergraduate for two quarters by the application deadline , OR a UW Seattle English Graduate student enrolled in the MFA program in Creative Writing
• UW GPA of 3.5
• UW English GPA of 3.7
• Minimum of 10 credits of completed UW English course work  completed before Winter Quarter begins. Courses taken during Winter Quarter will not count towards the 10 credit minimum.

Application Process

• The Creative Writing Contests deadline for 2024 has passed. Please check back in early 2025 for next year's contests applications.
• Remove your name and/or student number from the file containing your prose or poetry submission, as these are read anonymously.
• For prose contests, submit: 2-3 short stories, works of creative nonfiction, or a novel excerpt (up to 30 pages/9,000 words). If you are excerpting from a longer work, please provide a synopsis of the whole. 
• For poetry contests, submit up to 100 total lines of poetry, and no more than 10 poems.

For more information, please contact:  [email protected]

Scholarship and prize information described below. 

Undergraduate Contests

Graduate contests, undergraduate contests, prose - undergraduates.

Edith K Draham Scholarship - $6,000 (one undergraduate winner per year) -  Applicant must be a full-time sophomore or junior English Major at the time of application, and be eligible for need-based financial aid.  

Stephanie Dassel Barden Scholarship in Creative Writing - $3000 (one undergraduate winner per year)

Eugene Van Buren Prize for Fiction - $3,000 (one undergraduate winner per year) -  OPEN THROUGH NOMINATION BY CREATIVE WRITING FACULTY ONLY.  Open to all currently enrolled University of Washington Seattle students. Nominated students will be notified by the Creative Writing Program by email.

Charlotte Paul Reese Fiction Award - $2,400 (one undergraduate winner per year) -  OPEN THROUGH NOMINATION BY CREATIVE WRITING FACULTY ONLY.  Currently enrolled English majors who are Sophomores or Juniors are eligible. Nominated students will be notified by the Creative Writing Program by email.

Poetry - Undergraduates

Edith K Draham Scholarship - $6,000 (one undergraduate winner per year) -  Applicant must be a full-time Sophomore or Junior English Major at the time of application, and be eligible for need-based financial aid.  

Stephanie Dassel Barden Endowed Scholarship in Creative Writing - $3000 (one undergraduate winner per year)

Arthur Oberg Award for Poetry - $2,000 (one $2000 winner or two $1000 undergraduate winners per year) -  Applicant must have completed a beginning (ENGL 283) or intermediate (ENGL 383) poetry writing class in the 12 months preceding the contest deadline.

Joan Grayston Poetry Prize - $1,500 (one undergraduate winner per year)

Academy of American Poets Prize - $100 (one winner per year) - Open to all  currently enrolled graduate or undergraduate students at the University of Washington Seattle.  This prize is awarded for the best poem or group of poems. More information on this contest is available on the Academy of American Poets website .

Graduate Contests

Prose - graduates.

Eugene Van Buren Prize for Fiction - $3,000 (one graduate winner per year) -  OPEN THROUGH NOMINATION BY CREATIVE WRITING FACULTY ONLY.  Open to all currently enrolled University of Washington Seattle students. Nominated students will be notified by the Creative Writing Program by email.

David Guterson Award - $1,500 (one graduate winner per year) -  Must be an MFA prose writer completing their degree. Applicants should submit a draft of their MFA Creative Thesis. 

Nelson Bentley M FA Award in Creative Writing (Prose) - $1,500 (one graduate winner per year) -  Must be an MFA student completing their first year in the program at the time of application.

Poetry - Graduates

Joan Grayston Poetry Prize - $1,500 (one graduate winner per year)

Nelson Bentley M FA Award in Creative Writing (Poetry) - $1,500 (one graduate winner per year) -  Must be an MFA student completing their first year in the program at the time of application.

Academy of American Poets Prize - $100 (one winner per year) - Open to all  currently enrolled graduate or undergraduate students at the University of Washington Seattle.   This prize is awarded for the best poem or group of poems.  More information on this contest is available on the Academy of American Poets website .

Other Scholarship Sources:

• English Department Scholarships
• UW Office of Merit Scholarships, Fellowships, and Awards
• UW Office of Student Financial Aid
• Other Campus Resources
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UW Youth & Teen Programs

Writers workshop for high school.

This course serves as an introductory-level creative writing workshop. You’ll explore and develop your own voice across various genres, including poetry, fiction, creative nonfiction, spoken word, visual or multimodal media and/or hybrid mediums. You’ll read, share and constructively critique each other’s work in a supportive writing community and build toward composing a final portfolio of creative work. The workshop culminates in a class reading that's open to family and friends. 

What You'll Learn

• How to write across multiple modes of discourse
• How to give and receive feedback one-on-one and with groups
• Strategies for exploring and developing your individual creative voice
• How to create a portfolio of your work

Who Should Register 

This course is for ninth to 12th graders who are interested in creative writing and eager to gather with peers to share inspiration, ideas and approaches to writing. Creative writing experience is not necessary. This course is not for those who need remedial writing help, and all students should have a high level of English language proficiency.

Jessica Holmes

More Information

This online course is taught via Canvas and/or Zoom video conferencing. Classes meet in real time and are not recorded. Activities are held both synchronously and asynchronously. To participate, you should have access to a computer with a high-speed internet connection, a headset and a webcam. 

See the Policies  page for details about registration, refunds, waitlists and more. 

Earn a Digital Badge

After participating in this course, you can claim a  Youth & Teen Programs digital badge  that you can share with prospective colleges, universities and employers and on social media.

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Creative economy professionals invited to MXR:SEA networking events

We’re thrilled to relaunch “The Mixer” program with MXR:SEA on June 27 at the M5 Creative Building . This is the first in a series of free in-person workshops and industry networking events designed to support small businesses, entrepreneurs, and those who work in Seattle’s creative economy. 

These events aim to equip creative small businesses, particularly BIPOC and women- and minority-owned businesses, with essential tools, resources, and educational opportunities to navigate the lingering impacts of the COVID-19 pandemic.

The six workshops are designed to foster relationships, provide learning opportunities, and create memorable engagements that empower businesses, business owners, and creative entrepreneurs with new discoveries and insights.

Schedule of events:

• June 27: M5 Creative Building
• July 25: Central District
• August 22: Pioneer Square
• September 26: White Center, Southgate Roller Rink
• October 24: Hillman City, Black & Tan
• November 21: Capitol Hill

Any professional, entrepreneur, and business involved in the creative economy is welcome to join. This means creative fields like music, film, visual arts, culinary arts, interactive tech, and more. 

Register for the June 27 event: https://www.eventbrite.com/e/mxrsea-tickets-920413430347

About the Office of Economic Development Creative Economy Program The Office of Economic Development’s purpose is to shape the Future of Seattle’s Economy and make it more equitable, prosperous, and competitive. We do this work by leading projects and making investments that open up access to economic opportunities, reduce the racial wealth gap, and encourage innovation and growth.

In Seattle, the creative economy includes 61 different occupations that represent 250,000 jobs in the metro area. These jobs, particularly those in the arts, film, music, and nightlight, are not only power economic drivers but are part of what makes our region special.

Our goal is to drive growth within the creative economy through strategies and investments that open doors and remove barriers to individual, business and community wealth building opportunities – especially for communities that have been systemically excluded.

For more information, contact James Miles, Creative Economy Manager at [email protected] .

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