I was caught in a fog of subtle depravity.
That is how I would describe my first years living in Guatemala. It is terrifying what one believes to be truth and noble when done in God’s name. Evil has no boundaries.
In 2011, I started working full-time in Guatemala. I worked for a school that serves low-resource children. Coming from an upbringing in a normal Christian church, I was full of energy and excitement to brave living in a new culture, working against the cycle of poverty and abuse to bring education to the next generation of children in the villages surrounding Antigua, Guatemala. I was in my early twenties and had the typical twenty-something mindset of thinking that I knew everything—knowing exactly where the lines were, knowing what was right, knowing more than everyone else in general about God, life, and circumstance.
Of course working in a ministry for the impoverished was virtuous calling, I thought. But why did it not always feel “right?” I know I am supposed to be here—was the constant confirming voice in my head. This struggle continued for years:
“This doesn’t feel right...but I know I am supposed to be here…”
“This doesn’t look right…but I know I am supposed to be here…”
“What I am doing is not right…but I know I am supposed to be here…”
View of Antigua, Guatemala
These thought were never overpowering, but lingered always in the back of my mind. Because after all, I was working for a Christian organization, what could be wrong when everything looked so right? But, as I said, evil has no boundaries. It creeps up and pretends to be the caregiver, the helper, and the savior. It is petrifying to see how deep manipulation can truly go, especially in oppressed people, the ones who are looking for a caregiver and a helper and a savior. In his book People of the Lie, Dr. Scott peck states, “The reader will be struck by the extraordinary willfulness of evil people. They are men and women of obvious strong will, determined to have their own way. There is a remarkable power in the manner in which they attempt to control others.” Can you imagine what that does to beleaguered people? It destroys them and they do not even know it. This was leadership I was working under. Thankfully it eventually came to an end, but not before peoples lives were left in a tangled mess.
I met you by the river the first time while the mist rose from the banks like it was trying to change elements. You were more fun to run from the cops with than anyone else I’d met, and man you made me reckless. I never had to test my legs though, the minivan did it for us while Jerry blasted through the blown speakers in the cornfield. You walked 2,000 miles up the country on trail and wrote me letters back home while I watched, sidelined. I could have walked myself from Georgia to Maine with you, but it was your own pilgrimage to undertake, your season spending nights under a green tarp.
You listened to Joni Mitchell’s Blue while you were abroad. Some say an unhealthy amount, but you beg to differ. Something about the timbre of her voice resonates with traveling, long-distance train rides and loneliness. Because that’s what the feeling was, right? Loneliness?
I balanced on the side of Mt. Yale, quietly crying into my knees. Rory hopped from stone to stone ahead of me, following my husband, Julio. Between only weighing thirteen pounds (mostly fluff) and having the start of cataracts—and being a dog—Rory did not notice the four thousand-foot drop on the other side of the rocks. Once she realized I was no longer a step behind her, she came plopping back to where I froze and wiggled her way onto my lap. Panting and licking my face, in her obliviousness, Rory pulled me out of my panic and helped me make it the rest of the way to Mt. Yale’s fourteen thousand two hundred-foot summit. I had stopped just a short scramble from the top because the trail was more exposed than I expected, and I was sure I would slip and plummet to my death. Predictably, I did not.
In June of 1993, I was twenty-three and pregnant—again. Despite having been on the pill for years and using a diaphragm correctly, this was the third time my body tried to make me a mother before I was ready. Nothing had changed since the last time it happened: I was still living in the Ocean Beach enclave of San Diego, still in a rocky relationship with Richard, still a part-time student inching my way toward a bachelor’s degree, still a waitress, still broke. Things were worse, in fact. My roommate informed me that she was moving to Guatemala, and as I couldn’t afford the whole apartment, I had to move out. Richard had just graduated college and planned to ride his motorcycle up the west coast to Seattle, so we decided to break up (again). When a co-worker heard me complaining about a lack of summer plans, he suggested a hospitality company that hired seasonal workers in Yellowstone National Park. Employment included room and board, so I applied, they accepted, and I packed my bags.
We found the perfect place to camp. At eleven-thousand feet in the mountains of Eastern Nepal—the sky filled with puffy white clouds and a panoramic view of Kanchenjunga, the third highest mountain in the world. My friend Elizabeth and I traveled with five porters, two cooks and a guide. The porters set up four tents—a toilet tent with a hole dug into the ground inside, a larger dining tent where the guys, after dinner, rolled out their sleeping bags and one tent each for Elizabeth and me. I threw my duffel bag into my tent and turned to look at Kanchenjunga. I knew these clouds, swirling, changing, growing darker, moving as if the hilltop itself was spinning.
We stand together near the bus station, inhaling the smell of cow shit, watching miniature dust devils swirling around in the street like tiny tornados. Two hippie imposters, my boyfriend Don and I, wait for a Greyhound bus to take us from Stockton to Pasadena, California.
He’s never been there before, but my husband drives through Arizona like he’s a native. Our kids bicker in the backseat as he squints into the Southwestern sunshine.
The highway carves a groove into the hills. Forests of saguaro fade to arid plains. Endless interstate stretches through hours of tanned earth, unfurling at the feet of piney, snow-capped forests. Our rental car pushes higher and higher. We tug layers over jeans and t-shirts.
When I was a child, each summer, my mother took my sisters and me on a journey westward from our home in New Jersey to Minnesota, where my grandparents, cousins, aunts, and uncles lived. Although my sisters and I delighted in the prospects of seeing our relatives once again, what pleased us most was the train ride that lay ahead.
“So you’re the matriarch,” the bartender says as I join my daughter and granddaughter at the bar for a sunset drink.
If there is a stereotype of a good missionary girl then take that stereotype and turn it in the opposite direction and that is where you will find me standing. But I hate stereotypes. What I love is potential. I strive for it. I look for it in everything. I love working in a school full of children and young people and discovering their God-given abilities and the amazing things they are capable of.
I work with children whose circumstances have made their lives difficult. Children who cannot do their homework at night due to lack of electricity, children who cannot bathe due to lack of privacy, children who skip school because they don’t have money for transportation. I work with children who are molested, beaten, and who are constantly being stomped on or looked down upon. These children have purpose. They have hope. They are bright shinning lights. After so many people seemed without hope due to oppression and manipulation, things are changing, there are so many now who have hope. Things are changing and hope is springing out of every part of their being.
I will always work towards hope, I will always listen for the constant confirming voice and I will always look beyond.
-Hannah Noella Nadeau
The hermit crab essay is a term originally coined by Brenda Miller and Suzanne Paola in their craft book Tell It Slant: Creating, Refining, and Publishing Creative Nonfiction. Like its namesake, the hermit crab essay borrows an existing container, such as a list, set of directions, tarot card reading, or real estate listing, and makes it its own.
In this workshop, we’ll explore how different authors use the Hermit Crab Essay as a creative vehicle for approaching topics that may feel too difficult, vulnerable, or traumatic to write about directly. I’ll share writing exercises, practical tools, and techniques that you can take with you to experiment with this form and begin crafting your own next essay.
The success of Gillian Flynn’s Gone Girl (2012) heralded a new era of domestic suspense. Most of the novels that came to define this genre featured white women narrators behaving badly. While this convention invokes the precedent of the pathologization of hysterical women, we must also consider how this convention relies on contemporary white privilege. How do Caro Claire Burke’s Yesteryear (2026), Alice Feeney’s My Husband’s Wife (2026), and Meagan Church’s The Mad Wife (2025) use unreliable narration to suggest that madness is a privileged state?
Women characters are still too often judged by one question: Is she likeable? That question can do a lot of damage on the page. Anger gets softened. Ambition needs an explanation. Bad decisions need a sympathetic reason behind them. A woman can be selfish, difficult, ruthless, jealous, furious, or want something she probably shouldn't, but writers often start sanding those edges down because they're afraid the reader won't like her. But liking a character and wanting to keep reading about her are two very different things. Stop Making Her Likeable is a 90-minute workshop about what actually keeps a reader invested in a complicated woman. We'll look at why readers can become completely absorbed by characters they don't approve of, what makes difficult behaviour fascinating rather than simply frustrating, and how motivation, contradiction, desire, and agency affect the way a reader responds to her. We'll also look at our own pages. Where are we explaining a woman because we're afraid she'll be judged? Where are we making her apologize for wanting something? Where have we given her a tragic reason for behaviour that we might simply allow from a male character? The goal isn't to teach writers how to create an “unlikeable female character.” It's to stop treating likeability as the price a woman has to pay to be worth reading about.
In this course, author Piper L. White will discuss feminism through the use of fairytales and how to take these beloved childhood stories and twist them into our modern writing by delving deep into the psyche of women-identifying people and their everyday horrors to craft their own prose pieces.
This product gives you access to all four weeks of the workshop. Purchase one or more drop-in sessions here.
Build a habit in 20 sessions. In this 4 week workshop that meets Mondays through Fridays from 8:00-9:00 AM CST, we will focus on generating new writing—making headway on a current project, reviving an old project that’s been gathering dust, or writing based off of the daily prompts Leigh provides.
The first 45 minutes of class are a gentle, camera-off, silent writing session. The remaining 15 minutes are an opportunity to share excerpts of our work, reflect on progress made, and set intentions for the following day. Then we will read a passage together on the writing life and close each class with a new learning about habit formation. By the end of this course we’ll have a morning writing habit that is each our own to continue and build upon.
This listing is for an individual class. To purchase access for the full 4-week workshop, click here.
Build a habit in 20 sessions. In this 4 week workshop that meets Mondays through Fridays from 8:00-9:00 AM CST, we will focus on generating new writing—making headway on a current project, reviving an old project that’s been gathering dust, or writing based off of the daily prompts Leigh provides.
The first 45 minutes of class is a gentle, camera-off, silent writing session. The remaining 15 minutes are an opportunity to share excerpts of our work, reflect on progress made, and set intentions for the following day. Then we will read a passage together on the writing life and close each class with a new learning about habit formation. By the end of this course we’ll have a morning writing habit that is each our own to continue and build upon.
Many writers feel drawn to write about their lives but struggle with uncertainty: Why this story? Why now? And who is it really for? This workshop is designed to help writers move beyond doubt and toward clarity by focusing on the deeper meaning and purpose beneath their story.
In this interactive, craft-forward session, participants will be introduced to the Memoir Compass, a practical framework that helps writers articulate their motivation (why they are writing), mission (who the story serves), and message (what meaning or insight the story carries). Through guided reflection and writing exercises, participants will begin shaping a personal narrative rooted in intention rather than overwhelm.
This workshop is ideal for writers interested in memoir or personal narrative, as well as fiction writers drawing from lived experience, who want to move forward with greater confidence, focus, and direction.
Some of the most compelling creative nonfiction begins with the feelings we are tempted to avoid: anger, resentment, shame, fear, or the sense that we have an axe to grind. In this six-week workshop, writers will explore how to follow that emotional heat toward deeper, more honest work—without sacrificing compassion, complexity, or craft. Through close readings, writing exercises, discussion, and constructive feedback, we’ll consider how to transform strong feelings into writing that reaches beyond catharsis and connects with readers.
IT’S NO SECRET THAT FEEDBACK IS AN IMPORTANT PART OF THE WRITING PROCESS.
In fact, we argue that it might be the most important part of the process.
But it’s hard to find a writing community. It’s hard to find the people who are willing to take the time and the effort to read your work and give the feedback you really, truly deserves.
That’s where HerStry Critique Groups come in!
HerStry Critique Groups are small groups of 6 women who gather online for 6 weeks to share their writing, give constructive feedback and gain skills as writers.
Weekly online sessions last approximately ninety minutes, with three women sharing their work each week. Writers of all genres and levels are welcome and you may share both works of fiction and nonfiction.
Sessions take place on Mondays 7PM CT, Tuesdays 11AM CT, Fridays 11AM CT
WHAT’S INCLUDED IN THE HERSTRY CRITIQUE GROUPS?
Six 90 minute live workshop sessions
Three 20 minutes sessions in the “hot seat” to get you work critiqued
Written and verbal feedback from your fellow workshop participants
A weekly in depth edit and critique of your work from the group leader after each session
Weekly writing goals and accountability check ins
Full video recordings of each session to keep for your records
Say goodbye to the lonely, stuck in your head writing life!
LET’S WRITE!
From conception to submission. Let’s make summer sizzle with stories.
Writing a short story doesn’t happen in one session. It takes multiple drafts to get it exactly right, to create characters that come to life for the reader and a world they can’t stop thinking about. In this seven week course we will work on a single short story from conception to submission ready. The seven week session will include generative brainstorming sessions, short story craft talks, multiple workshops for feedback from fellow writers, and detailed line by line feedback and edits from your instructor. Plus, we’ll talk about submission venues, cover letters, and when to know if your story is ‘finished.’
One dreary winter day, nearly two years into dating, he ended things rather oddly: “I don’t think you’ll be okay if we break up,” he explained, “which is why we have to break up.” Though confounding, I suppose it was not surprising—he often resented how much I seemed to need him.