Small Gifts
My mother’s treats have always been unexpected, precious morsels,
savored as much for their surprise as for their flavor—
a summer lunch of a lobster roll and coffee frappe at Gulf Hill creamery,
a butterscotch candy retrieved from deep within a purse,
a gingersnap or two with tea after dinner,
a thin sliver of an Andes mint chocolate before bedtime.
But my favorite treats were those offered in the warm kitchen as she baked—
half a spoonful of cookie dough scraped from inside the stainless-steel bowl,
a mixer blade coated in cake batter, a small circle
of sweet, uncooked doughnut reserved from the bubbling oil.
Two or three times a year when she had the time
—or perhaps when she didn’t but was simply moved to make it—
my mother would place her heavy cast iron Dutch oven on the stove,
fill it with lard, take out her rolling pin, cutter, flour and sugar,
and set to making doughnuts.
Not the kind of doughnuts you might buy at Dunkin Donuts
or in the supermarket bakery, but old-fashioned fried cakes,
the kind of doughnuts her grandmother born in the 19th century
used to make once a week on her farmhouse woodstove,
reaching her arm deep into the flames to place the logs just so.
I don't think I knew it at the time, but I was desperate for love when she came into my life. I had been with my husband for two years and the marriage was dying. We didn't like or trust each other, and we weren't happy. There was no intimacy in the relationship.
I was pulling a pizza out of the oven when I nicked the heating element with my left ring finger. Now where a ring might be, I have a half-centimeter stripe, symmetrical enough to suggest a wedding band, a reminder of those I've worn before. It's red—the color of stop, of angry, of hurt—evoking both my marriages: the good one that reached "until death do us part," far too soon, and the bad one that made me feel diminished.
I live in the midst of Marias, from the maternal to the eternal. My nonna, Maria Grazia, with whom I spent much of my childhood, lost three children before she had my uncle and my mom, Maria Gaetana. My days are bookended with calls to my mom: Seven in the morning, post coffee and yoga, and seven in the evening, as my day slows.
A shirtless man hollers at the top of his lungs, creating chaos in the already jam-packed Wan Chai market. The crowd disperses to the sides, allowing him to barge through with his metal cart of carcasses. As he passes, he releases the scent of sweat, unwashed hair, and rot.
Even in the musty Catskills cottage my parents rented during the summer I came of age, their bed was the place we went to heal. Even as tiny, satin ballet slippers hung from the mahogany headboard and a pink chenille spread covered it, like a sticky sweet frosting, this lumpy mattress was where we found succor.
Cameron, my boyfriend of six months, sits across from me in the cheap, Canton Chinese restaurant where we always eat. The white-walled, empty space fills with light through the windows, and wood tables are vacantly spread throughout. We look at each other blankly. The only sounds that come out our mouths are loud chews and slurps of stir-fry noodles hitting our lips with long, hungry uncomfortableness.
Modern love doesn’t mean a type of love we haven’t seen before, but it does mean it’s a love still seen as radical by those it encounters. It makes people look twice when they see you walking down the street. It makes your friends comment, “I’m so happy for you!” on your Instagram pics. It both surprises and entangles everyone it meets, creating an aura they begin to crave as well. It’s the type of love they should really be making potions for.
“I think you’re better off without me.” I blubbered, my hair thick in unwashed, oily residue. My clothes, more suitable for sleeping than for wearing out, a mess. As I heard myself say those words, I almost didn’t recognize myself. I, the romantic. The believer of fairy-tales and forever afters.
“Learn to make collages. Water your plant. Collect lucky pennies.”
Let’s be honest, you’re not going to make collages or collect lucky pennies. That seems like a waste of time. You do, however, eat a weed brownie and read Claudia Rankine’s Citizen in one sitting at a bar.
Her grandmother, who I always imagined in the layers
of long skirts, petticoats, aprons of a too far bygone era,
could not understand her growing granddaughter of the forties and fifties
in cuffed up jeans and bobby socks or, later, calf length pencil skirts,
wondering aloud how it was possible her bare legs did not grow cold,
as she smartly barred her own skin from the chill with thick lisle stockings.
I had thought this was her grandmother from England who out of
astute superstition refused to take her three girls on the Titanic
—or was it her husband Wilkes coming before her who had the ticket?—
family memory blurs with time, who said no to the largest ship ever built,
surviving to make do during the Depression,
a time so difficult that her daughter, as a young woman,
took pleasure in circling around with friends,
a pint of ice cream shared between them,
each taking just a spoonful or two or three—
so little, yet more than enough to satisfy.
But I was wrong.
This was the grandmother displaced by eminent domain from one farm
to another during World War II, long after her husband died,
longer still since the death of two infant girls—Ruth at five months,
the other forgotten entirely over time—
as her three boys grew strong.
This was the grandmother working the new land just as the old,
one grown son and a nephew by her side,
another son’s children coming to stay in summer months,
preserving, passing on simple family gifts.
So it was she who made fried cakes for her grandchildren,
and even though she favored the boys, indulging them
as they snacked from the pantry stuffed with cookies and treats,
I like to think that the doughnuts were just for my mother,
the girl who had so few treats, growing up oldest in a time of scarcity
offering her up a single ball of uncooked dough, cut from the center of a cake,
the remainder dropped into the pot of boiling lard,
one small bite to be enjoyed slowly, the sweetness
dissolving inside her mouth.
-Ann Wallace
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.’
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!
October 7, 14, 21, 28, November 4 and 11 CT
WRITING THE SEX SCENE.
Writing a sex scene can be delirious fun, a harrowing challenge, a literary milestone—possibly the most important part of building your short story or book. In our six weeks together, you’ll experience just about every possible emotion as you explore the erotic in different modes: comic, tender, harrowing, soul-shattering … because it really is all about the characters’ feelings, not just the mechanics. So we’ll talk about tone. Vocabulary. Metaphor. Sensory detail. How to get big emotions on the page … and when to pull back and let the reader’s imagination go to work.
This is a course for writers who want to explore the intersection between the novel and short stories, and would like to weave their short stories into a story cycle (or collection of "linked stories" or "composite novel"). This is also a class about the interaction of form and content, and how one influences the other. We will read works of interlinked stories by writers from diverse cultural and ethnic backgrounds, focusing on modern classics and contemporary practitioners of these hybrid forms. Weekly discussions will center on elements of craft, such as the expansion and compression of time, setting as an organizing and connecting principle, character development within and between stories, structure and plot for interconnected stories, and responding to literary influences in the same genre.
This six-week course guides writers through the literary submission process, offering insider insight and practical tools to help you get your work into the world. We’ll demystify everything from reading submission calls to writing cover letters and choosing the right journals. Along the way, we’ll workshop short bios, develop submission trackers, and build personalized plans that align with your voice and goals.
By the end of the course, you’ll walk away with a polished piece ready to send, a tailored submission list, and the confidence to navigate the lit mag world with clarity and purpose.
Ideal for writers of literary fiction, poetry, personal essay, memoir, and hybrid forms.
Tension feels tangible to a reader, an active experience. But from a craft perspective, tension is often a function of restraint, palpable from what is withheld, delayed or left unresolved. Why do some stories feel urgent even in stillness while others fall flat despite dramatic events? Our impulse to resolve tension often comes from a deeply human instinct to seek coherence and moral clarity, but resisting that instinct creates compelling narratives. When we let characters misbehave or allow ambiguity in their actions, we pull readers closer to them.
This course examines tension as a narrative force. We’ll consider how writers can counter the impulse to resolve too quickly, to justify wrongful acts or to redeem a character’s behavior. By looking at ways to sustain tension without escalation into spectacle, we’ll experiment with evoking it in the ordinary and the unspoken. The class will combine close reading, craft reflection and writing prompts to practice distinct approaches to writing tension. This course is designed for writers working in fiction, nonfiction, and hybrid forms who are interested in deepening the psychological and structural complexity of their work. Ultimately, tension is what compels the reader to turn the page.
In this generative writing workshop, ecologist and poet Anne Marie Wells will introduce participants to some of today's eco-poets and essayists and guide participants through a series of writing prompts that will use the outdoors and personal experience as inspiration for creative expression. No writing experience is necessary to participate.
Ann E. Wallace writes poetry and nonfiction about illness and loss, as well as about family memories. Her work has recently appeared in Intima, Wordgathering, The Literary Nest, Eunoia Review, Mothers Always Write and other journals, and is featured in Raising Her Voice: An Anthology of Women Writers by The Same. She lives in Jersey City, NJ where she teaches English at New Jersey City University, and she is on Twitter @annwlace409.
Most notifications earned a disinterested glance from me, and I ended up swiping them away, too lazy to change settings. But there was one type of notification that got my full attention every time: an alert from Reddit reminding me that I had a new message. Not a short and snappy message like the “What’s up?” casually sent by my friends—rather, it was almost always a long, carefully thought-out letter amounting to at least a thousand words.