Resignation
It all comes down to an email.
You're not welcome back without a letter,
explaining your illness.
You're not welcome back
without opening up your skull
and showing them how your dopamine
doesn't flow just right
and how someone stuck a sizzling
iron to all your hopes and dreams,
swirling it around until it's soup.
You cannot show them a simple sickness.
You cannot show them the path from
your mental health to physical.
Because, sweetheart, it's all in your head.
And they could care less.
Unless you figure out how to put your words and thoughts
onto your skin like blisters or a rash
that would cover your whole body like constellations uncovering your destructive ideation.
Still they would not understand
how scary it can be to leave the bedroom
or how hard it can be to lift your head or hand.
You can't quite put your finger on it.
Your every thought a scuttling spider.
Explain to them this metaphor and what then?
Your resignation. Your death certificate.
Your only hope for a normal life imploded by a signature.
Signing off your sanity.
In the midst of your best self
you lost yourself once again
despite cutting off your ears
to ignore the whispers of desperation
that you're not okay.
You're not okay.
-Katherine Yets
In the pre-dawn silence, before the sun wrests the veils of frost from our windows, I hear someone running down the hall—small, naked feet sprinting toward my bed. I’m only half awake, half expectant, but when I feel the mattress dip under the pressure of new weight and a warm body pressed against my back, I know it’s my son and I know he’s had another bad dream. Maybe it’s Captain Hook again or Shredder, the knife-toting villain from the Ninja Turtles.
From October 2020 until February 2022, every Wednesday from 11:00 a.m. until 11:15 a.m., I dedicated my time to taking a shower. My weekly Wednesday ritual also included my virtual therapy session at 1:00 p.m., so I began my day changing out the week-old unwashed pajamas to shampoo and deep condition my hair, shaving my legs, and exfoliating my body. As I undress, starting with my crew socks, I focus on my parent’s medicine cabinet. Although not my bathroom, this is my childhood bathroom, as there is one shared shower. Next, my black sweatpants and long sleeve-stained John Mayer tour shirt from 2017 hit the blue tile.
The despair is back. It’s so familiar that its return is almost comforting like seeing an old friend until you remember that friend is misery. I am miserable.
It is mid-February. I have made it through the big three without incident: Thanksgiving, Christmas, and New Year’s Eve. My sober family had a party on January 2 to celebrate getting through the holidays without a drink and hopefully a minimal amount of amends. I proudly celebrated one year of sobriety on January 8.
I spent the morning weed whacking the pathways between my farm vegetable rows. Even in the slightly cooler morning hours, the heat was stifling, so I opted for shorts. Weed whacking done, I looked at myself, covered in dirt and grass clippings, dripping in sweat. I could hardly see my legs. Best not to head back to the house until lunchtime when I could hop in the shower. The tomatoes needed weeding, so I set to work pulling the lamb’s quarters and nutsedge from around the growing tomato vines.
Months into the pandemic, confined to our house by COVID-19 restrictions and the unrelenting Texas summer, I followed my restless eight-year-old into the pantry where the bulk of our interaction took place. We argued over what qualified as a healthy snack.
Brrring! The bell screeches, telling us that lunch is here.
A herd of tiny, boisterous bodies rushes into the open courtyard, waiting to eat, play, laugh, and talk together. Amongst them, a large group of girls congregate, buzzing with renewed excitement, eager to witness the daily ritual. I follow my friend, Githushka, out the door, rushing to get a prime spot.
Shapeshifting has been a facet of nearly every human culture, explored in art and literature through the ages. These human-animal entities can be glorious and divine, or sinister and grotesque. Typically, they exist symbolically—either the transformation or the resulting state is significant in some way. My own experience with shapeshifting was more clinically than artistically rendered, and I am still hazy on the message my experience was meant to convey.
You haven’t been home in a while. How long, I can’t quite say, but long enough for the stillness to solidify. Dust amasses discretely, until one day it forms a visible shell. I hear you brushing it off surfaces, coughing, groaning in disgust. There are many surfaces. But you’re determined.
It all comes down to an email.
You're not welcome back without a letter,
explaining your illness.
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.
Kathrine Yets teaches English composition. Her works can be found in Crabfat Magazine, Blue Heron Review, and various other literary magazines. Recent winner of the Jade Ring Award from the Wisconsin Writer's Association, she now considers herself married to her poetry.
I tug at the sleeves of my sweater as I rock back and forth on the hospital floor. A girl around my age tucks a strand of her turquoise hair behind her ear and sits in the chair beside me, her knees up under her chin.