Writing in Unknown Shapes

Navigating the creative process outside the bounds of genre

A class for writers with ambitious creative visions, working in ambiguous forms

What would you say if you could tell your story on your own terms?

Practical tools and flexible strategies for creative work that doesn’t fit in a box

Is this you?

You’ve been working on a memoir that is also a research project, a novel that is also a memoir (or a poem!), an essay or a chapbook or a love letter to the world that is also a story. You have fragments, half-starts, sketches—if you’ve been able to start at all—but you can’t seem to piece them together. You can make out the form or sequence if you squint, but that clarity seems to vanish when you actually sit down to write. The notion of “literary form” doesn’t feel like anything you can actually work with, and you feel overwhelmed by all the threads and possible directions your project could go in.

Inside of its flux, this kind of writing can feel like an extraordinarily difficult (if not impossible) feat. But I know from experience that learning new ways of looking at the process, acquiring flexible narrative frameworks, and applying simple literary tools to complex work can make it not only possible, but also sustainable, transformative, and even enjoyable.

You just need some foundational concepts to demystify the process without oversimplifying it, and structured guidance from someone who has been through the process before.

That’s why I created Writing in Unknown Shapes.

Because I’ve been there.

I spent years grappling with a messy manuscript that shape-shifted between fiction and nonfiction, and took on so many narrative schemes I lost count. Each time I felt certain that I’d found the “perfect” structure, my project’s complexity defied this temporary solution and I’d fall back into a cloud of doubt. Only a few years earlier, I’d had a great experience writing a prose-poetry novella, and wasn’t sure why this project was so hard. It took uprooting my life to attend an MFA program to find my footing with this project. I was able to find tools and concepts I could use on my own terms, and support with moving through the project’s challenge.

Writing in Unknown Shapes is a distillation of the most useful (and flexible) tools and frameworks I know of.

I don’t believe there’s a “magic bullet” or perfect system that will (or even should!) dissolve the challenge associated with cross-genre, genre-queer, or complex writing projects. But I do believe it’s possible for you to gain the tools you need, so you can navigate these challenges with confidence without sacrificing your own idiosyncratic approach to form.

Writing in Unknown Shapes includes:

  • Weekly video lectures

  • Office hours

  • Writing prompts and exercises

  • Discord community

  • Lifetime access to course materials

“The course gave me very concrete ways of moving forward with my project. Lots of little tricks and prompts to try out and new ways of understanding where I’ve been stuck and why. I haven’t received a lot of formal training around narrative strategies so I feel like I am coming out of this workshop with more in my tool belt. I have felt so stuck with this particular writing project and I feel so much more movement and energy around it now.”

— V Lane Hoy

Sign up for the waitlist

Writing in Unknown Shapes is currently on hiatus and under construction. I’m scheming a new format—but can I add a synchronous component while retaining the course’s accessibility? That’s the big question. I’m also working on recovering from chronic health issues that have slowed me down. I’m aiming to re-launch the course in 2024, and I think it will be awesome! Thank you for your patience!

Add your name to the waitlist to get updates about the next session and access to special enrollment opportunities.

“I feel incredibly grateful that Siloh shared her years of experience and her skillset with us through the lessons in Writing in Unknown Shapes. Siloh make complex and overwhelming things feel accessible and like a fun puzzle instead of something frightening. I’ve thoroughly enjoyed the ways in which you broke down topics and offered models and examples, and I truly appreciate the ways you make writing feel like something we all deserve and we all can do.”

— Kate Litterer, PhD

“I appreciate how thorough this class has been. It really got me delving in deep with my project. Every week is well thought out with many prompts, exercises, lectures, readings and teacher availability/answering questions. There is so much content to this course. I feel like I have a lot of tools to play around with now as well as resources to continue with my project.”

— Ginny Banks

Here’s what’s we’ll be getting into:

We’ll be working through six in-depth modules. These video lectures will provide conceptual tools and frameworks you can apply to your work. They’re accompanied by weekly workbooks with lots of writing prompts and exercises, plus additional resources and optional reading associated with each week’s focus. Two integration weeks provide some breathing room during the term.

The Video Lectures

Part I: Foundations of Your Practice

Week One: PROCESS AND PRACTICE

We’ll start out by establishing the foundations of your writing process, and an approach that we’ll continue to build upon. This week’s lectures will focus on (and elaborate) stages of the writing process as a helpful heuristic applicable to experimental and other kinds of writing. We’ll especially be paying attention to how opening ourselves up through writing can give us an entry-point into more polished or structured work.

Week Two: FINDING YOUR ANCHOR

This week will be all about delving into the relationship you have with your specific project, and honing in on the questions and ideas it’s rooted in for you. If you’re not working on a specific project, this framework–a way to cohere a multifaceted project–will still apply! I’ll discuss the “anchor draft” as a tool I’ve found helpful for both grounding and conceptualizing a project.Through exploring what’s at stake for you in the anchor draft, you’ll also explore the boundary–the crossroads–of your relationship with the project, and what you hope to share with the world.

In addition to the asynchronous video lectures for this week, there will also be a live writing workshop about bringing playfulness and visual imagination into your writing practice (which will be recorded for those unable to attend in real time).

Week Three: INTEGRATION WEEK & OFFICE HOURS

This week will provide breathing room to absorb the previous weeks’ material and work with writing prompts. There will also be an opportunity to submit questions for office hours.

Part II: Narrative Shapes and Vantages

Week Four: STRUCTURE AND STRATEGIES

This week, you’ll work towards giving definition to the shape of your work, while also considering literary tools and devices for writing into its unknown form. In particular we’ll focus on narrative strategy and structure, and how conceptualizing narrative as a spatial form can facilitate that tricky organizational work. This week we really delve into the heart of working with (and in) unknown shapes!

Week Five: VANTAGE, VOICE, AND CHARACTER

As we continue to build on the work from the previous weeks, we’ll turn to the role of a narrator in cohering (or complicating) prose work. Thinking about narrators overlaps with narrative strategy, but there’s just so much to say about them that they deserve their own week! Narrators can be incredibly powerful and also sometimes very hard to work with–especially when your narrator bears resemblance to–or is–a version of yourself. I’ll elaborate some of what I’ve come to understand about narrative vantage and voice. We’ll also explore character development and story arc—something which can sometimes be the secret glue of even a very “thinky” or cerebral project.

Week Six: INTEGRATION WEEK & OFFICE HOURS

This week will provide breathing room to absorb the previous weeks’ material and work with writing prompts. There will also be an opportunity to submit questions for office hours. Additionally, I’ll host a live writing workshop this week about creatively repurposing “found” genres, structures, and plot for the purpose of genre-ambiguous work (which will be recorded for those unable to attend in real time).

Part III: The Long Haul of Revision

Week Seven: LEGIBILITY AND RE-VISIONING

Lots of revision tips here! We’ll also consider the tricky negotiation between our own intentions and others’ reactions to our work. As a part of that, we’ll explore productive ways of responding to (and asking for) feedback–especially when writing more experimentally–as well as what it might mean for a work to be complete. In addition to this week’s recorded lectures, we will also have a special guest for a live conversation about long-term creative collaboration, and sustaining creative/critical practice outside of literary establishments. (A recording will be available for those unable to attend in real time.)

Week Eight: RESPONDING TO BLOCKAGES AND SUSTAINING YOUR PRACTICE

In our final week together, we’ll descend further into our exploration of the obstacles we encounter in the writing process–from the abstract to the quotidian–and zoom out to consider the longer scope of our project. We’ll have our final office hours this week as we bring closure to our work together.

Plus…

Office Hours

Here’s where we get to connect with each other, and connect the course curriculum to your own specific writing practice. You can submit questions about course curriculum—or anything on your mind about your writing, practice, or project.

Private Discord Community

The Autumn 2022 session will also include optional live events. There will be two prompt-based creative writing sessions (on Sunday 10/30 and Sunday 11/27 at 10am PT), plus a live conversation with a special guest. These sessions will be recorded for those unable to attend in real time.

Our private Discord server will provide space for us to connect with each other. I’ll post discussion prompts and questions that further develop the weekly curriculum.

Fall 2022 Tuition: $555

Payment Plans Available

As the course has continued to grow in its scope, I will be re-evaluating the cost of tuition for 2023. I will post updated pricing information in advance of the next session.

“Writing in Unknown Shapes was a place for me to engage with my writing process without the added layers of expectation, judgment and shame that can be present in traditional academic settings. In class and in one-on-one coaching, Siloh held a supportive space for creative exploration and offered techniques and perspectives that opened my mind to new possibilities and grounded me in why I started writing in the first place. I highly recommend her services to anyone who is seeking support in their writing life.”

— Cy Ozgood

“This has been so SO helpful.”

— Wambui Wainaina

FAQs

 
  • This course will be housed in a private site, which means that once the term is over you will continue to have access its material for the lifetime of the course. Writing in Unknown Shapes is not, however, an “on-demand” course, as we’ll be moving through the curriculum together. Each week I will share a video lecture and a collection of writing/journal prompts which align with our focus. There will also be a weekly discussion in our private Discord channel, and you’ll have the opportunity to submit questions for office hours. Office hours questions will be due by the end of the day each Friday, with a recorded office hours video released on (or before) Sunday. The video lectures will be closed-captioned (AI generated which I will do my best to edit!).

  • Beginning with the Autumn 2022 session, there will be several optional live events associated with the course! However, these are bonus events; all lectures and course materials will be available asynchronously.

  • Tuition can be paid as a one-time payment of $555, two payments of $278, or five payments of $111.

  • This course covers a fair amount of material, but I also try to be cognizant of the work and life constraints you are probably also negotiating. In terms of your commitment in participating in this course, I estimate that you’d need at least three hours a week to really follow the weekly content in real time, or a minimum of an hour and a half to do the bare minimum (of just watching the lectures and checking in on Discord). I’d personally probably need longer than three hours to absorb the content and apply it to my project—but you can always go back into any of the lectures when you’re ready to digest it, even after the course is finished. (And by the way, if you have a hectic week and fall behind, you won’t be “locked out” of the following weeks’ modules.)

    Anyways, here’s an estimate and breakdown of time required for each element of the course:

    • An hour for the video lectures, which will total approximately 45 to 60 minutes each week (sometimes they might be a little less or more; there might be an occasional “bonus” video that delves deeper into a particular topic). I’m going to see if I can figure out also uploading the lectures as just an audio file you could listen to podcast-style while you go about other business, too.

    • An hour to engage with some of the journal and writing prompts (which would be easy to break up into pieces); this would be on top of other writing you might do, but also could be folded into it.

    • At least 15 minutes to pop into Discord and see what’s going on (probably longer if you want to engage with your cohort more fully)

    • Office hours videos will range in length according to the number of questions submitted, but will be at max 60 minutes (usually shorter), and is more of a bonus resource for you more than something you’re expected to watch

    • Doing any reading related to lectures is optional, and could add another half-hour (or hours!) of engagement, depending on your inclination and availability

  • Some kind of participation in the Discord channel on a weekly basis is very encouraged! It is also the channel I’ll be using to post announcements.

    Previous students of this class have said getting to hear about other students’ projects, thinking, and questions through Discord was an important part of the course for them. It’s also one of the more regular “accountability” measures of the container of this course. With that said, if the Discord thing is a deal-breaker for you, it’s ok. You’ll need to introduce yourself to stay in the server, but after that point you can just let me know you’ll be sitting it out.

  • There won’t be assigned reading, but I will sometimes talk about some books and other forms of writing in the lectures. I try to discuss these texts in a way that makes sense even if you haven’t read them, and whenever possible, I’ll include links to published writing available at no cost. However, when you enroll in the course you’ll have access to our syllabus which lists some books I’ll reference in the lecture, in case you’d like to have them on hand as a reference.

  • You will have indefinite access to these materials. I plan to keep offering this course—and in the event that my own life circumstance changes, I will continue to host this material. However, in the event that I do need to close this course up, you will be given ample notice, so you can save anything you want to save. (I’d aim for six months or more.) I also can’t account for unforeseen events (such as the unlikely but possible demise of the internet or etc)—y’know, that kind of thing. But you can expect multiple years of course access, at a minimum.

  • This course will be most beneficial to those who have an interest in creative or unconventional forms of writing—and especially those who are actively thinking about or working on a writing project—but there is no specific prerequisite for the course in terms of training or courses taken. Previous students of Writing in Unknown Shapes have both not taken a writing class since high school and have MFAs/MSs and/or PhDs. I have tried to distill (and make accessible) the most significant lessons I’ve learned through my own studies, as well as provide the tools I’ve picked up as someone who has taken on very ambitious writing projects without actually having the technical or craft-specific training to match them. The course is structured to provide the kinds of tools and frameworks that aren’t necessarily available in genre-focused writing courses (whether those are academic genres or creative ones), rather than assuming you already know them.

    If you’re just looking for some basic tools for doing argumentative or college-level writing, this is probably not the best course for you, because it’s not going to focus on that kind of linear writing. That would probably be my main caution, but otherwise please feel free to join! And if you have any specific questions about your own situation, don’t hesitate to get in touch.

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About me & what I bring to this course

This course is informed by my own experience navigating two genre-ambiguous prose manuscripts, one of which took the form of poetry-inflected auto-fiction, and the other which began as a fragmented, hybrid-form project and which has now settled into a collection of linked essays (that is straddling the border of long-form narrative nonfiction) . That first project was short-listed for publication in 2015 (but is currently, happily sleeping!), and the second project is one I’m actively revising. (I’ve published pieces of it in Entropy and [PANK] , if you’d like to take a look!) I am not yet a published author of a book and can’t tell you how to land a sweet book deal, but I can share what I’ve learned as a student of long-form writing—what I have learned directly from the practice of grappling with the challenges presented by writing in unfamiliar and unknown forms, and what I’ve learned from my teachers along the way. (My teachers/mentors include Anna Joy Springer, Miranda Mellis, and Lily Hoang.) I also can speak to what I do know about publishing, and about finding a home in the literary world especially when writing experimentally. I am interested in legibility and helping writers find it, and in this class we will explore how ideas about money and publication inform our own praxis, but I want to be clear that the primary focus of this course isn’t writing book proposals or making money from our work.

I also bring my experience as an educator in creative writing and composition classrooms, and as a writing coach and tutor who has worked one-on-one with writers in varying capacities since 2014. I am very interested in what healing and embodiment practices can bring to bear on learning spaces, and especially on the creative process. I approach the creative process holistically and am open to a variety of modalities and tools, from movement practices and divination to textbooks about literary terminology.

I have an M.F.A. in Writing from UC San Diego and bring my experiences workshopping writers and writing across a range of genres. My own writing experience lies primarily in the realm of prose, but I am very interested in exploring the overlap and divergences between verse and prose forms, especially as that concerns narrative.