Pat Conroy Literary Center

Led by an award-winning editor, writer and former journalist, Chad Rhoad, this workshop is for writers looking to capture the essence of their setting, for those writers whose setting says as much about their work as the story, and for those who see the attitude, history and personality of a place as vital. Let your setting hold the metaphorical presence that drives your work.

Sean and John will share their journeys, from the high hopes that accompany submissions to the frustration of waiting for rejections that inevitably arrive (if at all) on the same day the car won't start or the youngest child needs braces. Such is the writing life, with some laughs along the way.

Join other writers to identify the literary magazines and journals most receptive to your writing. This workshop, for fiction writers, poets, essayists, and reviewers at all levels from beginner to professional, will help you submit a manuscript that gets noticed.

Led by poets Tim Conroy and Susan Madison, this workshop will explore the poetry of practice, unpredictability, surprise, and image. Through daily practice, we suspend judgment and expectation and discover how the poem rises from what we observe—touch, taste, smell, hear, and see.

Learn from one of the top editors in New York on how to structure a persuasive introduction to you and your work. What in your biography or experience is likely to get an agent or editor’s attention? How much plot description is enough or too much?

In this workshop, we will excavate memory to build poems that stitch together a new quilt of experience. We will examine ways in which we can structure a memory poem around time and space.

I'll explain that talking about "process" is antithetical to how I think and work, or play. My "process" involves remembering as much of what I see and hear as I can and trying to describe it; for me the process of writing means getting lost in watching something or someone, rarely knowing what will happen next, and then writing about it.

This workshop will explore that process of taking a story from bad to good to great. We’ll analyze the toughest problems in backstory, dialogue, and description (by “leaving out the parts most readers skip” says Elmore Leonard), the vexing issues of character and plot, and challenges to quality writing time.

We’ll take a good look at dialogue that takes off with examples from the masters, including Raymond Chandler, Flannery O’Connor, Toni Morrison and, of course, Pat Conroy. We’ll question how realistic dialogue can and should be, and we’ll explore how many ways there are to weave speech and action and description together.