Lit Fest - Lighthouse Writers Workshop 2026

Often, the process of drafting fiction is one of uncovering: What is it we actually mean to be writing about, and how can we bring that thread to the surface in revision? At the same time, one of the great pleasures of reading is the consideration of suggestions or questions that remain just beneath the surface of the text.


In this workshop, we'll consider the “layers” of a story, and we’ll explore how some of those subterranean layers can guide us toward structures and narrative arcs that serve the project. We'll negotiate the balance between what works best when said directly and what works best when it’s left to be discovered by the reader. Each workshop will open with discussion of a published short story and a brief responsive writing exercise; then we’ll move to an in-depth discussion of work submitted by participants.

Novels are long, often unruly, and inherently ambitious projects that require the writer to be both intimate with and distant from the text. It's easy to type a bunch of pages, but it’s hard to make them captivate the reader and ensure that the journey adds up to more than the sum of its parts. This course will explore the tools needed to bring your novel-length manuscript to life in its strongest form. Your novel has strengths: we'll explore how you can build on them. Your novel has weaknesses: we'll identify them and create strategies for you to overcome them. Together, we'll reveal what your novel is actually about, as opposed to what you planned for it to be. We’ll examine its hidden structures, and we’ll enable your characters and their struggles to come alive on the page.

In this weeklong workshop, we’ll explore the intimate relationship between situation and event in narrative using work submitted by participants. The goal is to gain a stronger understanding of and appreciation for the underlying or pre-existing dramatic context that gives meaning to plot, character actions, and even the structure of a piece. We’ll use this stronger understanding to develop a more thorough conceptualization of our work so that we can make exciting, unexpected, and more meaningful choices in our stories.

We’ll be working with the below definitions:

Situation: All of the facts that comprise the starting condition of a character’s life at the beginning of a given story, novel, scene, or act. We may understand situation as another word for circumstance raised to the level of dramatic action and intent.

Event: The event is the happening or the trigger shot of a given scene, story, or novel. There are capital E Events and little e events. But regardless, both kinds of events should be drawn out of the very bedrock of your narrative and dramatic situation.

Writing is decision making, nothing more and nothing less. What word? Where to place the comma? How to shape the paragraph? Join Steve Almond for a workshop focused on improving the decisions you make in your writing. By looking critically and carefully at other people’s work, you’ll walk away with a better sense of how to improve your own. The idea is not to slow your rate of composition via compulsive revision, but to instead make better decisions in the first place and to recognize quickly when you haven’t.

The most important decision a writer makes is who tells their story. In this workshop, we will examine each other's manuscripts primarily through the lens of point of view and by using the concept of narrative strategy, but we will also take each manuscript as a whole and discuss how all the craft elements are working together. The primary question we will ask is, "How can the manuscript be a stronger, deeper version of itself?" This workshop is open to short story writers and novelists with stand-alone excerpts.

In this generative workshop, we’ll either begin brand new pieces, or begin a brand new version of an old piece. In either case, we’ll use our clean slates to find startling originality, optimal angles of approach, and the energies that will carry a story or novel through to the end. We’ll write both in class and outside of class and (voluntarily) share what we’ve written. In the last two days of class, we’ll squeeze in mini-workshops on everyone’s opening page. Accepted participants do not need to come in with an idea of what to write, although they may.

In an age of both metafiction and high fantasy, writers have grown shy of writing realistic experiences wildly different than their own. Why have we lost the confidence to utterly make shit up and say it with authority? How can we get it back?  

In this seminar, we’ll talk about writing away from the self and the lived experience, the research that makes such stories believable, and the narrative possibilities that give us control over completely fictional worlds. We’ll touch on the ethics, difficulties, and occasional necessity of writing genders, races, sexual orientations, abilities, ages, religions, etc. different from our own, and we’ll focus more deeply on how to make stories up out of whole cloth and fully inhabit characters who aren’t you.

This is the in-person version of this event.

In an age of both metafiction and high fantasy, writers have grown shy of writing realistic experiences wildly different than their own. Why have we lost the confidence to utterly make shit up and say it with authority? How can we get it back?  

In this seminar, we’ll talk about writing away from the self and the lived experience, the research that makes such stories believable, and the narrative possibilities that give us control over completely fictional worlds. We’ll touch on the ethics, difficulties, and occasional necessity of writing genders, races, sexual orientations, abilities, ages, religions, etc. different from our own, and we’ll focus more deeply on how to make stories up out of whole cloth and fully inhabit characters who aren’t you.

This is the livestream version of this event.

In this class we will examine works that use their architecture, or structure as a vessel to carry and deliver meaning. We might examine the works of Italo Calvino, Anne Carson, Max Porter, Bernardine Evaristo, and Olga Tokarczuk…among others. Bring a story in which the architecture is asking: how might I be wilder?

You have a great premise. Maybe a gripping first chapter. But now your characters are wandering around contemplating the scenery, and you can't seem to make them do anything else. Sound familiar? If you want to write the sort of story that a reader cannot put down, you need to create urgency on every page. We’ll look at tools employed by writers of thrillers and suspense novels and explore strategies for creating a propulsive read no matter what sort of book you are writing.

Ready, set, write! In this generative class, we’ll write a short story or essay over two days. Using targeted exercises and a few insider tricks, we’ll work on particular elements of short stories/essays (both traditional or nontraditional) to form new characters, settings, story arcs, dialogue, action, interiority, and more! Come with a basic story idea and leave with a complete(ish) story to continue perfecting on your own. Open to all short prose genres.