Brevity at AWP Seattle

February 24, 2014 § 1 Comment

awp manAWP Seattle is soon upon us and Brevity will be there to welcome all flash prose aficionados. Our first-ever book fair table is A40 (watch for an announcement tomorrow about our nifty chapbooks)  and our editor (Dinty) and Managing Editor (Sarah) are also showing up on various panels.  Here’s our specifics:


12:00 pm to 1:15 pm

Creative Nonfiction’s 20th Anniversary Reading / Room 618/619/620, Washington State Convention Center, Level 6 / (Floyd Skloot, Brian Doyle, Elena Passarello, Dinty W.Moore)  A reading in celebration of the 20th anniversary of Creative Nonfiction magazine. Creative Nonfiction was the  first literary magazine to publish nonfiction exclusively, and for two decades the magazine has featured prominent authors such as Gay Talese, Phillip Lopate, and Adrienne Rich while helping to launch the careers of some of the genre’s most exciting emerging writers. Help us celebrate and honor Creative Nonfiction’s  dedication to this still-expanding genre.

1:30 pm to 2:45 pm

Out of the Classroom: Possible Adventures in Creative Writing / Room 611, Washington State Convention Center, Level 6 / (Philip Graham, Dinty W. Moore, John Warner, Harmony Neal)  This panel chronicles the strategies of four teachers of fiction and nonfiction who assign undergraduate students to go on “adventures” outside of the classroom and their comfort zone: attending roller derby games or a quarter horse competition, visiting a pet cemetery, going on a “coyote watch,” taking tango classes, etc. These assignments encourage students to see how “plot” works in real life (instead of in  television narratives) and how easily they can generate material for their writing.

4:30 p.m.

Flash in the Classroom: Teaching Micro Prose. (Sophie Rosenblum, Sherrie Flick, Pamela Painter, Sean Lovelace, Sarah Einstein) Room LL4, Western New England MFA Annex, Lower Level

As interest in the flash form continues to develop, teachers must be ready with pedagogical approaches in mind and in hand. This panel of experts in teaching and writing flash, including faculty from Chatham University, Ball State University, and Emerson College, along with editors from Brevity and NANO Fiction, will identify the best practices for generating successful flash-based workshops while exploring effective readings and exercises for writing students.


10:30 a.m. to 11:45 a.m.

Getting Short-Form Nonfiction to Readers: A Publication
Discussion. (Sarah Einstein, Hattie Fletcher, Chelsea Biondolillo, Kelly
Sundberg) Aspen Room, Sheraton Seattle, 2nd Floor

Flash nonfiction is a growing genre. But where can you get it
published? Join the managing editors of Brevity and Creative
Nonfiction and two short-form nonfiction writers as they share trends,
techniques, and strategies for finding markets for your short-form
nonfiction, whether lyric, expository, or experimental.

12 to 1:15 pm

Brevity Reading  (Jane Ciabattari, Meg Pokrass, Pamela Painter, Bobbie Ann Mason, Grant Faulkner) Room 202, Western New England MFA Annex, Level 2 / (NOTE: THIS IS ACTUALLY NOT US, IT IS OTHER FINE FOLKS, BUT IT SURE LOOKS INTERESTING)  Brevity is big these days, attracting more and more writers and readers to a form once considered niche. Flash is the truffle of prose writing; small in word count, yet dense and satisfying. Online and print journals are embracing flash as technology advances and life’s pace quickens. Flash writing is often lyrical, much like prose poetry; laced with sensory detail. Five masters of the form read their flash fiction, essay, and memoir. Plenty of time will be left for questions and answers.

3:00 to 4:00 pm:

Dinty W. Moore will be signing The Rose Metal Press Field Guide to Writing Flash Nonfiction at the Rose Metal Press table, R5.


3:00 pm to 4:15 pm

S247. Modernism and the Lyric Essay / Room 615/616/617, Washington State Convention Center, Level 6 / (Joey Franklin, Dinty W. Moore, Mary Cappello, David Shields, Lia Purpura) What can Joyce, Woolf, Pound, Eliot, and other modernists teach us about the poetics of the lyric essay? And can answering such a question help the lyric essay find its aesthetic roots? Join us as we discuss how modernist preoccupations with impressionism, self-consciousness, fragmentation, and free association (among other things) can not only inform the way we read, write, and teach lyric essays, but can also help us place this popular genre in the larger tradition of western poetics.

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