The Ultimate Guide to Not Letting the AWP Do You

By Alexis Paige

I arrived in Chicago last year for my first AWP with a hazy plan and a suitcase that weighed too much and cornered poorly. I packed stilettos, cigarettes, scarves, and lipstick, but forgot my laptop, cotton swabs, and new business cards stamped with a retro typewriter logo. Forgetting cotton swabs on a trip is a bad omen indeed. My plan was breezy and vague: oh, I dunno—find some authentic deep-dish, go to a few panels, say smart things, be charming, and have literary types fall in love with me. If there’s time, wrangle a book deal.

I’ve never been comfortable networking-as-a-verb, but my skills in this area hadn’t evolved since my 20s — awkwardness masked by flirtation. Incidentally, I gleaned this approach from an Anne Sexton biography that I read over ten years ago and interpreted not as a cautionary tale but as a primer on sex and dating.

I managed to get my AWP tote bag and lit swag, grab a slice served in a cardboard triangle, and check-in to my hotel room, all without incident. But it wasn’t long after I had gotten to my room, scarfed the pie, and lined up my little sentry of toiletries by height, that I found myself overwhelmed and on the verge of panic. The conference hadn’t even started, and this was not my usual existential panic, but an actual can’t-leave-the-room-and-function-in-public panic.

With nothing to do but strip down to my underpants and smoke in bed, I flipped through the 10-pound conference tome and tried to dam the tears with self-ridicule. I’ll spare you most of the rest of my mega-conference meltdown, but I accomplished little and went home an exhausted rube. Unable to navigate logistics capably, I ended up in the wrong panel at least a half-dozen times (each in the wrong genre and with a title more obtuse than the last); told Sven Birkerts his book The Art of Time in Memoir was “cool”; skulked around the book fair like a nervous woodland creature; collected business cards that would ultimately flounder in the bottom of my tote bag; and shouted “Hi!” to Cheryl Strayed in an elevator. (That’s it—just “Hi!” followed by a pregnant ellipsis. I should’ve told her I loved her or thanked her for “writing like a motherfucker”…something memorable.)

On the last night, I got invited—by way of the etiquette equivalent of the service elevator—to a VIP reception. Laureates, Pushcarts, NEA fellows, and National Book Award winners would be there: I was going to that room, the Gatsby room. Once there, however, I bored of the pomp and circumstance and sulked in a corner, popping cheesy poufs and getting hit on by a grandfatherly poet who mentioned his “new and selected” no fewer than eight times.

It’s redemption time now—a new year, a new me. I can do AWP: I just need a better plan.

First, a pep talk. Having spent much of my later childhood and high school years in Boston, I know the language, the land, the people, and customs. Home turf advantage. Also, I come from a military family—my husband, brother-in-law, and father—all no-nonsense types. This can-do competency must live in my muscle memory, right? Early wake-ups, hospital corners, overnight hiking trips in rugged New Hampshire mountains, extensive travel, and scrapping for respect in a big Catholic family: this was my childhood training. Dad was a recon Marine, for chrissakes; I can’t get pummeled by a writers’ conference.

Next, a plan and some rules of engagement. Instead of waiting until there, I grab my planner and Ned Stuckey-French’s “Handy Guide to Nonfiction Panels,” and I highlight. I highlight like a motherfucker. I pick two panels per day and write them into my planner in tidy block print. Anything extra is gravy, but these two are non-negotiable. My schedule is set and reconnaissance complete.

The rules of engagement are simple: no side trips to Fenway Park; no hesitant lollygagging at the book fair (get in, get out—with solicitations and business cards); no window shopping on Newbury Street; no improvised chit-chat with famous writers; no panel reconnaissance on the fly, flipping through maps and schedules while bent over a subway grate; no sulking or crying; and no reading of panelist bios until I am safely extracted and home.

If I seem a little more serious this year, that’s my plan. I am on a mission: do AWP, don’t let AWP do me.

—
Alexis Paige’s writing has appeared inTransfer Magazine, 14 Hills: The SFSU Review, Seven Days: Vermont’s Independent Voice, Prison Legal News, Ragazine, and on Brevity’s Nonfiction Blog. Alexis was twice named a top-ten finalist of Glamour Magazine’s annual personal essay contest. She received an M.A. in poetry from San Francisco State University and is pursuing an MFA in Creative Nonfiction from the Stonecoast low-residency program in Maine. She is at work on a memoir about how 749 days in the Texas criminal justice system taught her to grow up. She lives and teaches in Vermont.

The Mighty AWP

The 2013 Boston AWP Writers and Editors Extravaganza is just days away.  Here is a brief video adaptation of Rebecca McClanahan’s River Teeth essay to get you in the mood:

AWP 2013: A Handy Guide to Nonfiction Panels

Ned Stuckey-French, fearless champion of the essay form and friend of Brevity, put together and shared this extremely handy guide to nonfiction-related panels at the upcoming AWP Boston 2013 Conference.  This is not to say that we don’t have a lot to learn from the other panels: on poetry, fiction, literary citizenship, editing, politics, gender, teaching, etcetera, but if nonfiction is your chosen bag, this is the perfect way to keep track.

Thursday, March 7

 9 – 10:15

Room 110, Plaza Level

R111. Looking for Real-Life Humberts: The Unreliable Narrator in Creative Nonfiction. (Elizabeth Kadetsky, Tom Larson, Mimi Schwartz, Michael Steinberg, Daniel Stolar) If creative nonfictionists build a persona, can persona-building also become a source of conflict and dynamism in writing? Can building a less-than-reliable persona be a deliberate strategy, much like the use of unreliable narrators in fiction, such as Nabokov’s Humbert Humbert? Or does any kind of unreliability in the narrator undermine the entire premise of creative nonfiction? Five nonfiction writers brainstorm creative ways for writers to make themselves unreliable narrators—no doubt with playful, conflicted, and imaginative results. .

Room 303, Level 3

R122. “The Poem of Creation is Uninterrupted”: Writers Respond to Walden and Walden Pond. (Lindsay Illich, Sandra Castillo, Scott Temple, Kristen Getchell) Readers will present original works of poetry and prose responding to Thoreau’s Walden and to the geographical site of Walden Pond near Concord, Massachusetts. From the perspective of ecopoetics,Walden serves as a centrifuge for nature writing, but the readers will also explore more subversive readings of the work and the geographical site through verse and prose.

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

Room 111, Plaza Level

R137. I Didn’t Know I Had It In Me: When Fiction Writers Turn to Memoir. (Marie Mutsuki Mockett, Joanna Smith Rakoff, Porochista Khakpour, Carlene Bauer) We always thought we would write fiction; we never intended to write memoirs. But here with are with our memoirs. What happened? Was it the money? Was it a newfound sense of political passion? Or did we simply realize that certain stories—our stories—would work better as memoir? Come find out, and you may be surprised to learn that you too have a memoir in you. .

Room 208, Level 2

R145. The Artist as Activist: On Seeing and Saving the Natural World. (Tom Montgomery Fate, Alexis Rizzuto, Jennifer Sahn, Jeffrey S. Cramer, John T. Price) In the 19th century, inspired by Emerson’s essay, Nature, Henry David Thoreau initiated a tradition of the nature writer as observer-artist. Today, that tradition continues, but amid a natural world that has been nearly devastated by our own species. This panel of writers and editors will explore the evolving role of the nature writer as artist and activist—how seeing the world and saving the world are part of the same work.

12:00 noon to 1:15 p.m.

Room 109, Plaza Level	R164. Epistolophilia: Using Letters and Diaries in Creative Nonfiction. (Julija Sukys, Elsie K. Neufeld, Gabrielle Burton, Joan Sohn, Shannon McFerran) Each panel participant has used collections of letters and diaries to write nonfiction. Topics for discussion that have arisen for us in our work will include: What are the challenges of having a handful of letters to draw on versus mountains of them? What is the role of chronology in this kind of work? How do we fill in the gaps that personal writings inevitably leave? What is the author’s responsibility to her subject? What possibilities open up when working with such rich visual material? .
Room 209, Level 2	R175. What About Literary Journalism? (Mark Kramer, Clara Germani, Dan Grossman, Ayesha Pande, Robert Stewart) Despite the decline of magazines, newspapers, and book publishers’ budgets, the climate for literary journalism has never been better. Print is trending downwards, yes, but digital is spiking. Book apps, e-books, multimedia—new opportunities for this genre are continually emerging. In this moderated Q&A session, two journalists, two editors, and an agent discuss the possibilities and share ideas about how to develop stories and publish them. .
Room 302/304, Level 3	R177. I Essay to Be. (David Shields, Phillip Lopate, Elena Passarello, Amy Fusselman) This reading traces the lineage of contemporary essay-writing by embodying it: Phillip Lopate reframed and revivified the form decades ago. David Shields looks back to the tradition Lopate articulated and forward to a group of younger literary collagists, including Maggie Nelson and Amy Fusselman. Each generation builds off of and pushes away from the previous one; each of these five essayists finds his or her own way into the form.

1:30 p.m. to 2:45 p.m.

Room 104, Plaza Level	R189. Nothing but the Truth: Perspectives on Creative Nonfiction in the Classroom and Beyond. (Catherine Cortese, Michael Martone, Diane Roberts, Robin Hemley, Debra Monroe) Creative nonfiction continues to grow in popularity among readers and students of writing. The genre, however, lacks a standard definition. Some believe the slippery nature of perception affords writers infinite liberties, while others see the genre as one that artfully deploys stable facts. This disparity makes the genre tricky to write and trickier to teach. The writers on this panel will discuss the freedoms and constraints of the genre in their classrooms, as well as in their own work. .
Room 107, Plaza Level	R191. Five Years of Normal: Anniversary Reading for theNormal School. (Steven Church, Adam Braver, Beth Ann Fennelly, Ann Hood, Joe Bonomo) In 2007, the Normal School published its first issue. In just five years, the magazine has achieved national distribution and a strong reputation for publishing high-quality literary fiction, nonfiction, and poetry. This reading will celebrate our first five years of publication with readings by the panelists. Moderator and founding editor Steven Church will introduce the readers and moderate discussion afterwards. .
Room 200, Level 2	R196. From Parts to a Whole: Turning a Bunch of Essays into a Unified Book. (David Giffels, Chuck Klosterman, Sean Manning, Chuck Klosterman, Meghan Daum) Why do some books of essays feel like collections of B-sides, outtakes and orphans, while others carry the thematic and narrative satisfaction of a good concept album? Drawing from their own experiences, this panel of successful authors discusses vital techniques for conceiving, organizing, developing, and enhancing a collection of creative nonfiction essays into a unified whole. We will address how to balance recurring themes, maintain voice and tone, how to build bridges, and other topics.

4:30 p.m. to 5:45 p.m.

Room 200, Level 3	R255. Thoreau’s Granddaughters: Women Writing the Wild. (Suzanne Roberts, Cheryl Strayed, Pam Houston, Gretchen Legler, Li Miao Lovett) Do women approach writing both the wildness of the land and the wilderness of their own bodies differently from men? Do women have a uniquely feminine vision of what it means to be wild? Are they judged by a different set of aesthetics? These five women panelists, including memoirists, novelists, and poets, will discuss their literary influences, the joys and challenges, and the internal doubts and external criticism they face in writing the wild. .
Room 209, Level 2	R263. Bending Genre. (Margot Singer, Nicole Walker, Robin Hemley, Dave Madden) The hot debate over ethics in creative nonfiction has sidelined important questions of literary form. Hybrid, innovative, and unconventional, nonfiction is arguably the most exciting area on the literary scene today. But how does nonfiction actually work? How does it recombine and transform elements of other genres? What techniques distinguish nonfiction from other kinds of prose? Contributors to a groundbreaking new anthology of critical essays share their perspectives and ideas.
Friday, March 8, 2013 9:00 a.m. to 10:15 a.m.
Room 110, Plaza Level	F112. Progression by Digression: Multiple Narrative Lines in Creative Nonfiction. (Deborah Lott, Paul Lisicky, Hope Edelman, and Ned Stuckey-French) Laurence Sterne’s iconoclastic 1760 novelTristram Shandy can be seen as a forebear to contemporary works of creative nonfiction. In this panel, three creative nonfiction writers look at other works that progress via digression, with their main narrative arcs illuminated, enhanced, commented on, and deepened by other threads. The panelists will examine how seemingly digressive narrative lines can open up a work’s temporal frame, enlarge its perspective, provide metaphoric resonance, and add to its intellectual complexity. .
Room 207, Level 2	F119. The Art of the Nonfiction Idea. (Lisa Dierbeck, Pagan Kennedy, Alissa Quart, Katie Orenstein) In this panel, we discuss the anatomy of a successful nonfiction idea. Perfect Storm, Freakonomics, Seabiscuit—each of these books began with a powerful premise. How does an author identify a winning concept? And which ideas are most likely to attract the attention of editors? The session includes an Idea Hospital: audience members will have a chance to pitch their projects to the panelists.

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

Room 200, Level 2

F142. Essaying the Essay. (David Lazar, Phillip Lopate, David Shields, Lia Purpura, Reda Bensmaïa) This panel will speak to the essentially self-reflective nature of the essay: the ways essays have, historically, insistently talked about themselves. All the panelists have work in the newly released anthology Essaying the Essay, from Welcome Table Press, which presents essays on the essay from Montaigne to the present; they will read portions of their work and reflect/revise ways their views of the essay have modified over time. .

Room 310, Level 3

F158. The Person Behind You: A Reading of Essays in the Second Person. (Kim Dana Kupperman, Michelle Auerbach, Brian Hoover, Dustin Beall Smith, Rachel Yoder) The second-person point of view can be alluring and tricky, confrontational and seductive, confessional and evasive. What impulses compel us to write in second person, and what challenges does it present to the writer and/or reader? This reading, presented by Welcome Table Press, will feature essays that use the second-person point of view as distancing reflection of a past self, instructional voice, invitation to the reader, and epistolary address. An author Q&A will follow the reading.

12:00 noon to 1:15 p.m.

Room 110, Plaza Level	F169. Living it Up to Write it Down. (Michael Pearson, Philip Gerard, Joanna Eleftheriou, Christopher Sawyer-Lauçanno) For Thoreau, living in his cabin in the woods for two years was an experiment in living. Such experiments are not uncommon for nonfiction writers—who engage in an experience to make a story. James Boswell, E. B. White, Hunter S. Thompson, George Plimpton, William Least Heat-Moon, Sue Hubbell, Joan Didion, Bill Bryson, David Foster Wallace, Ted Conover, and many others could be part of a long list of writers who at one time or another made an experience in the hopes of shaping a narrative. The writers on this panel—through examples from their own writing—will discuss or dramatize how such experimentations can lead to story. .
Room 210, Level 2	F180. The Urge Toward Memoir. (Elisabeth Schmitz, Jill Kneerim, Michael Thomas, Jeanette Winterson, Lily King) Novelists Jeanette Winterson, Emily Raboteau, Michael Thomas, agent Jill Kneerim, and editor Elisabeth Schmitz discuss the writer’s urge toward memoir. What defines memoir and is it any more “true” or less creative a process than fiction? Panelists will talk about a favorite memoir and the forms they invented for their own. .
Room 105, Plaza Level	F194. Creative Nonfiction Pedagogy: New Findings from the Field. (Suzanne Cope, Christin Geall, Jan Donley, Stuart Horwitz) This panel features a recent study of approaches to teaching CNF in undergraduate, graduate, and community-based classes. Moderated by Dr. Suzanne Cope, lead researcher in the first participant-based study of CNF instruction for adults, panelists will reflect upon their pedagogy and influences. The conversation will revolve around the findings from the study, including the benefit of mentors and communities of practice, and the adaptation of instruction for various groups. .
Room 107, Plaza Level	F195. A Reading by the 2011 AWP Award Series Winners.(Marcia Aldrich, Kirstin Scott, Laura Read, Corinna Vallanatos) A reading featuring AWP’s 2011 Award Series winners Marcia Aldrich, Laura Read, Kirstin Scott, and Corinna Vallianatos.

1:30 pm to 2:45 pm

Room 111, Plaza Level

F199. Turning in Their Graves: Researching, Imagining, and Shaping Our Ancestors’ Stories. (Rebecca McClanahan, Lee Martin, Mary Clearman Blew, Suzanne Berne, Sharon DeBartolo Carmack) Five authors, including a Certified Genealogist, share their varied experiences of writing about family and ancestral roots, offering suggestions for every stage of the journey: accessing archival sources; sifting through the facts to discover meaning, theme, and universal truths; deciding if and when to invent or fictionalize; shaping the material into an artful text; and dealing with the consequences of the published work. .F208. Editors as Readers as Writers. (Laura Julier, Leonora Smith, Brenda Miller, Richard Hackler, Kimberly Tweedale) As manuscript reviewers for Fourth Genre, we find some essays particularly appealing because they strike a writerly chord, inviting us to read as writers, and to enter into conversations by writing our own creative nonfiction for which these manuscripts are touchstones. Two essayists whose work will appear in Fourth Genre will read; members of Fourth Genre’s editorial board—a faculty member and an undergraduate—will make this conversation visible by reading the pieces that were thus inspired.

3:00 p.m. to 4:15 p.m.

Room 108, Plaza Level	F227. Write Short, Think Long: Exploring the Craft of Writing Flash Nonfiction. (Kathleen Rooney, Sue William Silverman, Peggy Shumaker, Judith Kitchen, Ira Sukrungruang) In celebration of this popular emerging genre, as well as the publication of The Rose Metal Press Field Guide to Writing Flash Nonfiction: Advice and Essential Exercises from Respected Writers, Editors, and Teachers, edited by Dinty W. Moore, five of the book’s twenty-six diverse contributors gather to discuss what makes good flash nonfiction memorable and unique, and to offer up ideas and techniques for writing, publishing, and reading the brief essay form well. .
Room 303, Level 3	F242. Making Emerson Matter. (Lowell White, John Domini, Lindsay Illich, Amber Foster) The writings of Ralph Waldo Emerson have been profoundly influential in American literature. But do his words still matter? What does it now mean to be self-reliant? How do we participate in Nature? Is it possible today to transcend anything? On this panel, four writers will discuss Emerson’s 21st-century legacy, and the ways in which his ideas can be used as a springboard for new writing and thinking. .
Room 306, Level 3	F244. The Godzilla of Nonfiction: Has Memoir Swallowed the Essay? (Debra Monroe, Emily Fox Gordon, Meghan Daum, David McGlynn, Madeleine Blais) While creative nonfiction is a growing, vibrant component of most literary journals, most agents and trade presses shy away from essay collections. There is thus a publishing tension between the shorter, not-necessarily chronological, not-necessarily confessional essay and the longer, largely chronological, often confessional memoir. This panel discusses the tension between the short and long forms and offers pragmatic advice for writers working on book-length nonfiction works.
4:30 p.m. to 5:45 p.m.
Veterans Memorial Auditorium, Level 2	F250. Alison Bechdel & Jeanette Winterson: A Reading and Conversation, Sponsored by Emerson College MFA.(Alison Bechdel, Jeanette Winterson, Elisabeth Schmitz) Alison Bechdel, author of the graphic memoir Fun Home and the ground-breaking comic strip Dykes to Watch Out For, and Jeannette Winterson, author of Written on the Body and the memoir Why Be Happy When You Could Be Normal?, present readings from their work followed by a discussion moderated by Elisabeth Schmitz, Executive Editor at Grove/Atlantic, Inc. The events will be introduced by Emerson College’s Steve Yarbrough, author of the novels Safe from the Neighbors and The End of California. .
Room 110, Plaza Level	F259. What’s That Book About, Anyway? or, The Stealth Memoir in All Its Guises. (Michelle Herman, Scott Raab, Steven Church, Deb Olin Unferth , Joe Mackall) Get out of your own head. Call it a stealth memoir, or memoir-plus—or, as Scott Raab says of his own recent book, The Whore of Akron (about basketball player LeBron James’s defection from Cleveland to Miami), call it a Swiss Army knife of a book: nonfiction with subject matter other than the author’s life that reveals as much as outright memoir can. Five writers who practice the art of the slantwise, roundabout, research-driven, or journalistic approach to memoir talk about how and why. .
Room 207, Level 2	F267. What We Write About When We Write About Music.(Laurie Lindeen, Rick Moody, Will Hermes, Jen Trynin, Jacob Slichter) All art aspires to music because it touches our hearts, souls, senses, and imaginations This panel of writers, musicians, and writing instructors loves, appreciates, knows, and plays music. They have written passionately about music in memoirs, essays, novels, songs, poetry, and blogs. Each individual on this panel would like to share his or her unique path with prose and music, and share their collective beliefs in the emotional, rhythmic importance of musicality when writing and when teaching writing.

Saturday, March 9, 2013

9:00 a.m. to 10:15 a.m.

Room 105, Plaza Level	S108. The Truth of Nonfiction: Bringing Students into the Conversation. (Lee Gulyas, Kelly Magee, Rachel Wood, Zackrie Vinczen) The topic of truth in nonfiction is an old one; only the players change. What’s new is asking students what they hear in classes, what they hear in the cultural conversation, and how they make sense of this issue when considering their own ethics, limits, and creative work. Two instructors, one undergraduate student, and two graduate students will consider how the line between fiction and nonfiction informs their classrooms, their writing, and their participation in the larger literary community. .
Room 206, Level 2	S118. Literary Nonfiction and Social Activism. (Helene Atwan, Marianne Leone, David Chura, Courtney Martin, Michael Patrick MacDonald) This panel explores the craft of writing nonfiction that is both literary and socially relevant. Panelists include writers who, while seeking to make significant contributions to the national conversation on the issues they are writing about, are first and foremost writers of literary nonfiction. Writers and editors on the panel discuss ways to balance the political goals of the activist with the aesthetic imperatives of literary writing and the financial demands of trade publishing. .
Room 209, Level 2	S121. What Do You Mean, I Have to Change That? Creative Nonfiction Editors Explain Logistical Challenges Writers Face along the Path to Publication (and Offer Some Tips for Avoiding Common Pitfalls). (Hattie Fletcher, Stephanie G’Schwind, Laura Julier, Andrew Snee) In a perfect world, your essay quotes a song, describes your neighbor’s late-night orgies, or details your sister’s grisly battle with cancer. It’s a terrific essay… but you might not be able to publish it—at least, not as is. Editors discuss their procedures related to creative nonfiction—what and how we fact-check; why you need to get permission, and how we can help; when (if ever) we suggest disguising identities—and offer concrete tips for anticipating and working around such challenges.

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

Room 111, Plaza Level,…… Room 102, Plaza Level

S137. The Art and Craft of Short-Form Nonfiction. (Sarah Einstein, Joni Tevis, Brian Oliu, Chelsea Biondolillo) Can you write an essay in 140 characters? In 750 words or fewer? And can you get it published once you have? Join the managing editor of Brevity, two authors of short-form collections, and a graduate student working in this exciting new form as they share techniques and strategies for writing and marketing short-form nonfiction—from the lyric to the expository… S129. Why Genre Matters. (Dinah Lenney, Sven Birkerts, Judith Kitchen, David Biespiel, Scott Nadelson) Writer Lawrence Weschler once said, “… every narrative voice—and especially every nonfiction narrative voice—is a fiction. And the world of writing and reading is divided into those who know this and those who don’t.” If so, how do we distinguish between memoir and novel, essay and story, poetry and the rest? And why should we care? Panelists will address conflating, compressing, twisting, and embellishing, and the ongoing debate across forms about memory versus imagination and truth versus fact.

12:00 noon to 1:15 p.m.

Room 108, Plaza Level

S160. Essayists on the Essay. (Ned Stuckey-French, Lynn Bloom, Jenny Spinner, Patrick Madden, Barrie Jean Borich) A new anthology, Essayists on the Essay: Montaigne to Our Time, collects four centuries of commentary, theory, poetics, and celebrations of the essay. Tapping into that resource, this panel explores the form of the essay as described by its practitioners. How have essayists defined the essay? What have they said about what the form allows? What does the essay ask of its writers and readers? .

Room 111, Plaza Level

S163. Memoir Beyond the Self. (Jeffrey Shotts, Leslie Jamison, Brigid Hughes, Benjamin Nugent, Colleen Kinder) This panel will focus on narrative nonfiction that pushes the boundaries of traditional memoir by weaving personal experience into broader explorations of literature, history, and culture. What are the possibilities for a precarious first person, neither oppressively dominant nor entirely dissolved? How can memoir escape the bind of solipsism by looking outward at other people, places, and eras? How can private life become a medium through which the external world is articulated?

1:30 p.m. to 2:45 p.m.

Room 306, Level 3… . …. . .Room 109 Plaza Level

S204. How to Lose Friends and Alienate Loved Ones: Exploitation vs. Documentation in Creative Nonfiction.(B.J. Hollars, Roxane Gay, Marcia Aldrich, Ryan Van Meter, Bonnie J. Rough) Not every story is flattering, nor is every character. Nevertheless, nonfiction writers continue to document their lives and the lives of others, often at the risk of violating personal relationships. How should writers navigate between revealing the true nature of their subjects without alienating the people themselves? Join four writers as they explore the fine line between documentation and exploitation, among other ethical dilemmas inherent in writing of friends, family, and loved ones..S188. Found in Translation: Great Nonfiction. (Sandi Wisenberg, Faith Adiele, Patrick Madden, Susan Harris, Vijay Seshadri) Much of the creative nonfiction published in literary magazines, anthologies, text, and trade books in this country is written by US writers. We seek to broaden the conversation. We introduce, discuss, and read excerpts from exemplary and significant essays, memoirs, and other nonfictions that excite us—by such writers as Eduardo Galeano, Clarice Lispector, Milena Jesenska, Frantz Fanon, Goli Taraghi, Peter Fröberg Idling, Zbigniew Herbert, Nawal El Saadawi, and more.

3:00 p.m. to 4:15 p.m.

Room 206, Level 2…. . . . .Room 110, Plaza Level

S224. It’s Complicated: Memoir-Writing in the Political Sphere. (Liza Monroy, Kassi Underwood, Nick Flynn, Anthony Swofford, Matthew Parker) Writers of political memoirs tell personal stories that intersect with issues of social consequence: Abortion. Gay marriage. Torture. How can we avoid accidentally writing a polemic? Are we trying to solve a problem by telling our stories? Can we? We will explore the unique opportunities and challenges of this sub-genre, focusing on how writers can take advantage of the tension that exists when one person’s experience both illuminates and subverts its larger political context..S217. My Son Is Perfect: Writing (Honestly) About Your Own Kids. (Marybeth Holleman, Hope Edelman, Lisa Couturier, Caroline M. Grant, Kate Hopper) As more mothers find time and courage to write about motherhood, we face unique challenges, especially with nonfiction. One that looms large is how to write honestly about our own children, for whom we have unconditional love and no small amount of adoration. How do we find the distance to write more than the idealized version, to portray our children as the complex characters they are? How do we walk the fine line between telling stories honestly and protecting our own very real children?

4:30 p.m. to 5:45 p.m.

Hynes Ballroom, Level 3

S235B. Tracy Kidder & Adrian Nicole LeBlanc: A Reading & Conversation, Sponsored by the Pine Manor College Solstice MFA Program. (Tracy Kidder, Adrian Nicole LeBlanc, Richard Todd) A reading and conversation by two noted literary journalists, the Pulitzer Prize-winning writer Tracy Kidder, author of Strength in What Remains and Mountains Beyond Mountains, and Adrian Nicole LeBlanc, a MacArthur Foundation fellowship recipient and author of Random Family: Love, Drugs, Trouble, and Coming of Age in the Bronx. The event will be moderated by magazine and book editor Richard Todd, author of the memoir The Thing Itself, and introduced by Anne-Marie Oomen of the Pine Manor College Solstice MFA Program.