September 16, 2017 § 8 Comments
By Rebecca Fish Ewan
P.S. HippoCamp returns to Lancaster in late summer 2018. Details Here.
Rebecca Fish Ewan is the founder of Plankton Press (where small is big enough) and creates Tiny Joys & GRAPH(feeties) zines. She is a poet/cartoonist/professor/mom/writer and teaches in The Design School at Arizona State University. Her publications include work in Brevity, Femme Fotale, Survivor Zine and Hip Mama. She has two creative nonfiction books: A Land Between (JHUP, 2000) and By the Forces of Gravity, a memoir of cartoons and verse about a Berkeley childhood friendship cut short by tragedy, forthcoming from Books by Hippocampus. @rfishewan
August 31, 2017 § 6 Comments
Surprise! It’s a podcast! We’ve got a few episodes packed and ready from a whirlwind summer of interviews, so we hope you’ll be enjoying (slightly) more frequent listening. Stream the show right from this post, or click over to iTunes, Soundcloud or Stitcher. If you’re subscribed, we’ll show up in your podcast app queue. And wherever you listen or download us, please take a moment to leave a brief review–it helps us show up in searches and recommendations.
Episode #6 features an interview with Donna Talarico-Beerman on the process of becoming a small press, running a conference, and balancing her own writing time in there, too. We’re also talking all things writing conference over the next few episodes, and we’ve got brief on-the-spot interviews from Lee Martin, Sue William Silverman, and some lovely writer-participants from the Postgraduate Writing Conference at Vermont College of Fine Arts.
Show notes and links to people, places and things we’ve discussed are below. Next episode, we’ll be talking with Kristen Arnett about her new book, Felt in the Jaw.
Show Notes: Episode #6 People and Books
Find out more about Donna Talarico-Beerman at her website.
Today’s the last day to submit to Remember in November
Donna’s essay in the Los Angeles Review, Things That Aren’t Theirs
Questions to ask of a character:
What do I wish for?
What do I hope for?
What is my greatest dream?
What is my greatest fear?
August 8, 2017 § 10 Comments
So, you’re going to a writing conference! Workshops! Readings! Panels! Networking! Networking! Lots of networking! Mingling! Socializing! Bonding! Casual chatting through which lifelong writer friendships are forged! INTERPERSONAL COMMUNICATION AUGHLH JHJKGJKFGHFDGHAKJ–
Hang on, let me just breathe for a minute, and get off this ledge.
Perhaps, like me, you are a mewling, soft-skinned introvert hiding in a shiny I-talk-to-people-professionally-and-I’m-great-at-it shell. But somehow, our work has been found adequate, our check has been cashed, and we are at a writing conference. With group meals. Receptions. Post-reading cocktail hours. Casual gatherings. Late-night lounge time. A few days or a week full of priceless opportunities to open our mouths only to alternate feet.
Fear not. Brevity is here for you. Simply print this handy list of conference conversation openers, tuck it in the back of your name tag, and you’re ready for any writing-related exchange between humans. Just approach any writer or writers, and begin.
- “Wow…that reading…what did you think?”
- “Gosh, isn’t (insert name of workshop leader) just fantastic?”
- “Whose workshop are you in? Oh, they’re great! Tell me all about it!”
- “What are you working on? Oh, that’s great! Tell me all about it!”
- “Is it me or are all these rooms freezing/boiling/too dark/blindingly bright?”
- “How about that box wine!”
- “Where did you come in from? Oh, that’s great! Tell me all about it!”
- “Is it me or is your dorm room mattress horrible, too? Tell me all about your back problems!”
- “Have you seen the book sale yet? I have no idea how I’m going to get them all in my bag.”
- “Box wine! Look, there’s box wine!”
Please note that #6, 9 and 10 can also be used for exiting conversations as needed.
Enjoy your new writing friends, and remember, soon you’ll be home again and can return to communicating with them only through keyboards.
Brevity’s Social Media Editor Allison K Williams is at conferences the next few weeks. Please come talk to her about box wine, lumbar issues and your writing.
June 14, 2017 § 18 Comments
By Rae Pagliarulo
I’ll admit it — I’m a little bit of a conference junkie. I love using writing as an excuse to go places and meet people and yes, take a little time off work. I go every year, without fail, to Hippocamp, situated right in the middle of charming Lancaster (and filled to the brim with other CNF lovers like me), as well as the Massachusetts Poetry Festival, a small–but–mighty conference that lets poets take over Salem for a weekend of words and witching. So earlier this year, when I first learned about the Iota Conference, where Penny Guisinger has been hosting weekends of writing on the beautiful and scenic coast of Maine each summer. I was instantly wooed. I cyber-stalked the Iota website, trying desperately to come up with ways my hectic schedule might allow for it, but no matter how many things I rearranged, I couldn’t make time with a brand new job and several other immovable commitments to contend with.
Right around the time I was seriously considering having some of my organs harvested so I could afford a last–minute trip to Iceland for NonfictioNOW (be careful not to search for the conference attendees’ posts on social media — you’ll die of jealousy), I saw that Iota was starting a new online component. I could get my fix with a short class about an interesting topic, AND I could stop researching the value of a black-market spleen? It was a no–brainer.
The key to success in online learning lies between two things that are notoriously hard to control — technology and humans. Without easily navigable technology that makes logging in, communicating, and accessing resources simple and intuitive, as well as a group of people who are dedicated to remaining engaged — posting in the discussion boards, responding to their classmates’ questions, ideally paying attention to the class for more than an hour per week — you’ve got little more than a good idea and a WiFi connection. Thankfully, the class I decided to take from Iota Online had both. For four weeks, myself and nine other writers dove into Writing Flash Creative Nonfiction with Penny.
Each week, Penny posted a link to a YouTube video lecture and uploaded a handful of readings that supported the week’s focus. For a short course, it was comprehensive — we looked at the form itself and what was possible within it, and discussed situation, story, scenes, revision, and the senses. After reading the pieces each week, we discussed them, argued about their merits, and sang their praises. The discussions could have landed flatly, after each person uploaded their paragraph-long summary. But our instructor, even from afar, was able to be diligent about challenging us, asking questions, and suggesting additional readings or craft articles. It kept the conversation moving, and it kept me from mentally logging out of the course site after my “assignment” was done. I wanted to keep talking, and debating, and finding new authors to obsess over. The interactions I had on that message board mimicked the ones I craved as a conference junkie, but were somehow better. Here, I could debate the finer points of sensory detail and sentence structure with a New England psychologist, a Midwestern academic, a European expat artist, and a Canadian freelancer — and no one would know if I wasn’t wearing any pants.
At first, I was afraid that I would have trouble finding things to write about. I tend to be a tad long-winded when it comes to my CNF (which is why I was drawn to this course in the first place). What if I couldn’t rein myself in enough to keep it under 1,000 words? But by reading a TON of great flash CNF, I started to process my thoughts in short, vivid bursts, looking for brief but undeniably rich moments where before, I might have seen pages of exposition. Stories that seemed impossible to tame (too much backstory! all that context!) suddenly boiled down to handful of telling moments — watching a movie with a crush, looking for Christmas lights in a dingy basement, shoveling snow on a Saturday. With feedback from my generous classmates, and personalized feedback from Penny, I kept honing those brief moments of light and color into what they were meant to be — flashes.
Writing itself is the ideal activity for distance learning. Diverse opinions from new writers and readers are what make my work stronger. But it’s not always feasible to take a week off work and travel to a conference or residency. Online writing classes do the hard work for me — they collect individuals who are passionate about writing and share an interest in learning this new thing (scene work, dialogue, speculation, character development, whatever), and create a space where we can gather. Interestingly, having all our feedback posted publicly seemed to encourage my classmates and I to dig deeper with each subsequent week. By reviewing each other’s insights on a single person’s work, we could agree on an excellent point, and more importantly, offer unique insights that would complement what had already been addressed.
In a somewhat surprising way, I was able to access this jolt of creativity and energy — the kind I usually only find at conferences — without leaving home. At moments when I craved a change of scenery, I committed to completing my Iota classwork at a coffee shop or collective work space, where I felt able to focus completely without worrying about the laundry, or the bills on the table, or the many, many teen dramas I have yet to binge on Netflix.
Maybe it was poetically appropriate for a flash CNF class to be brief, but it was clear that by the end of our four-week class, my colleagues and I had barely scratched the surface, and better yet, we’d all gained this new toy that we wanted to keep playing with. In the end, I was left with pieces of writing that made me more excited than I’d been since I finished my MFA thesis. I couldn’t wait to get them out into the world. So far, they’ve been to a couple of readings, been submitted to a handful of online magazines, and helped me gain admission into – you guessed it – a writing conference.
** Iota’s upcoming classes are now open for registration.
Rae Pagliarulo holds her MFA in Creative Writing from Rosemont College. Her work has been featured in Full Grown People, Ghost Town, bedfellows, New South, Hippocampus, The Manifest-Station, Quail Bell, and Philadelphia Stories, and is anthologized in The Best of Philadelphia Stories: 10th Anniversary Edition. She is the 2014 recipient of the Sandy Crimmins National Poetry Prize and a 2015 Pushcart Prize Nominee. Rae works as an editor for online magazines, and as Development Director for a Philadelphia arts nonprofit.
August 11, 2015 § 9 Comments
You’re going to a writers’ conference! With workshops and panels and book sales and a lot of strangers and oh dear god what if none of them like me? What if all the workshops are too advanced, or too basic, and I have no idea what the Liminal Space Outside the Academy: A Feminist Perspective Through The Work of Dickinson and Gay As Realized In Graphic Novels panel is talking about? Am I too old? Am I too young? What if I haven’t had anything published yet?
Good news: we’re all welcome. Conferences are a great chance to meet and talk with writers of all ages and stages. Most conferences have purple-haired college kids, blue-haired seniors, and a variety of pantsuits, piercings, ties and tattoos in between.
I’ve just returned from the HippoCamp Creative Nonfiction Conference in Lancaster, PA. There were some terrific panels (none of them used the word ‘liminal’) on publishing and being a debut author and literary citizenship. It turns out the key to getting ahead as an author is pretty much the key to everything else–work hard, be nice to people, and don’t tweet “Buy My Book!” every hour because everyone else will mute you. Lee Gutkind opened his keynote with a story about a bat in the dining room and getting trapped in an elevator on his way to said dining room (both true), and Jane Friedman showed a fantastic video about the huge increase in available information in her keynote on the state of publishing.
Some thoughts on how to make the most of attending a writing conference.
Before you go:
1) Arrange to stay onsite if you possibly can. Yes, conference hotels are often expensive (join the hotel points club for free wifi), but the ability to run upstairs and change your shoes or grab a jacket between panels is priceless. If budget’s an issue, see if you can get a roommate–most conferences have a message board to share rides and rooms. When your day starts at 8AM and the last reading finishes at 11PM, it’s nice to have a last glass of wine and hit the elevator instead of the pavement.
2) If you have an author website, update it. Make sure your links aren’t broken and that your most current work is represented. If you have Twitter, Facebook, Instagram, etc, check your page from a friend’s account and see what shows up first. Any embarrassing pictures? Is your top post a rant? Clean up your social media. You’ll be friend-ing/following a bunch of new people, and you want to give a strong first impression. What if an agent loves your query in a workshop and clicks over during a break? Be you online, but be the best you.
3) Pack comfy shoes, layers and a jacket. Most convention centers and big hotels are freezing, especially first thing in the morning. Dress code at most conferences is Casual Friday–professional but comfortable. Keep the quirky in the accessories unless your book is a Cat Lady Manifesto.
4) Get on Twitter. Specifically Twitter. If you don’t have it and you don’t “get it,” sign up and have a twentysomething help you figure it out (your teenager is on Snapchat and you won’t need that one). Find out what the conference hashtag is and follow it. Even if you never tweet again, Twitter is where people are commenting on the panels, making dinner plans, and announcing schedule updates. It’s worth it to be in the loop. (Check out the #Hippocamp15 feed here.)
When you’re there:
1) Go to everything. It’s worth getting up early, it’s worth staying out late. Sleep when you go home. That said,
2) Don’t be afraid to bail. If you’re exhausted and can’t focus, slip upstairs to your hotel room and take a power nap. If you’re overwhelmed by crowds, find a corner to eat your lunch in. Chances are another shy writer will join you.
3) Talk to people first. Don’t wait for an invitation. As the Victorians said about fellow houseguests, “The roof constitutes an introduction.” It’s OK to sidle up to a conversation in progress, make some smiley eye contact and start listening. Sit next to someone you don’t know at every meal. When in doubt, start with “How were your workshops today?” And the best follow-up question ever: “What do you write?”
4) Volunteer. If there’s a chance to be read or heard, jump on it. There’s always a pause before the first person volunteers–fill that pause. After the first person it will be a scrimmage and not everyone will get a turn.
Corollary: Ask good questions. Before popping up to the mic or raising your hand during the Q&A, ask yourself, “Will this be relevant to at least half the room?” If your question is “I’m writing a memoir about my mother, do you want to buy it?” phrase it as, “What topics are you seeing in memoir right now, and what are you looking for? Are there a lot of parent-child stories?”
When you get home:
1) Follow up. Everyone whose card you took, send them an email saying how nice it was to meet them, and/or connect through your preferred social media. If you’ve got free time, send out a few links to articles you think would interest specific people. Start building your literary citizenship by being useful and kind.
2) Keep the energy going. Register the domain for that blog idea you talked about. Query that agent who seemed really nice. Ask someone to be your writing buddy.
And of course, write write write.
See you at the next conference!
Allison Williams is Brevity‘s Social Media Editor and the author of Get Published in Literary Magazines, coming in September from Coriander Press.