To the Person Who Has My Heart
Today, you told me you never had romantic feelings of any kind. Those words knocked the breath out of me. My chest squeezed tight and I had to swallow multiple times to keep tears from spilling.
But do you remember when we walked through downtown so late it was practically morning? You offered your arm to me like a gentleman, and I took it. We walked aimlessly for hours. As the sun rose, we confided in each other about what insecurities shredded our souls and what embarrassing dreams made life worth living: things no common acquaintance or coworker shares with one another.
Today, you told me I didn’t add anything to your life.
But do you recall when you had to write a ten-page paper about that absurd foreign film for your Humanities class? I watched the film with you multiple times until we understood it and typed the whole thing as you dictated it to me.
Today, you told me you never had romantic feelings of any kind. Those words knocked the breath out of me. My chest squeezed tight and I had to swallow multiple times to keep tears from spilling.
But do you remember when we walked through downtown so late it was practically morning? You offered your arm to me like a gentleman, and I took it. We walked aimlessly for hours.
When you do an internet search for “death of an unrequited love,” some interesting things pop up, but never the right ones. What about when the person for whom you have an unrequited love dies? What then? What about the closure that will never be, the hope that continued to exist, the possibilities that have now vanished? We had a story, in my mind. Now it will never have a resolution.
At first, I thought I’d killed you. The Friday before, you texted to tell me you were going to drown yourself in the Monongahela River. It was late Spring. You were drinking again.
“Go to the ER,” I told you. “Please don’t give up.” But, I didn’t offer to sit with you or hold your hand till the pain stopped. Instead, I just imagined you wandering along the trail by the river’s edge, staring into the murky rush.
I met a man. It was during the winter months leading up to spring 1994. It wasn’t that type of meeting-a-guy situation, it was purely business, and for the sake of art.
I was twenty-two years old and had been dancing professionally for about four years. I was part of a dance company that performed traditional dances from the African diaspora.
Dear Mom,
As you know, I’ve been wearing glasses since kindergarten. Even though Dad is always trying to get me to take them off for picture taking, you’ll see I’ve managed to keep them on in almost every photo. In my developmental years my glasses were a part of my identity. I was that girl with the ponytail and glasses. I revelled in being identifiable, as if my glasses gave me a reputation.
Dearest You,
I need to peel off my flesh. Just a small slit on the wrist to get things started, then slice it back like puckered chicken skin with a paring knife and fry it in a pan.
Today, you told me our “friendship” exhausted you.
But what about the first time we made love? We stayed up all night, giving in to the attraction we had had for years. The euphoria extinguished any fatigue. We both stared in awe at the other after the passionate night that you only read about in romance novels.
Today, you told me you never depended on me like I depended on you.
Did I imagine those thousands of text messages and hundreds of phone calls you initiated? The text messages that began with a question we both knew you already had the answer to? The phone calls where you desperately conveyed how much you wanted to talk to me and hear my voice?
Today, you told me you never loved me.
I guess that’s my mistake.
Sincerely,
Me
-Taryn Hinderland
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.
Taryn Hinderland is a writer living in Los Angeles. She went to the University of Oklahoma to pursue a film degree and found a love of writing. Her obsession with Star Wars has resulted in many Sci-Fi romance stories that bring her immense joy and a fascination with space travel.
Dear N_____,
This letter is a little late, fifty years is a sizable chunk of time, but I wanted to tell you that you can stop searching for that lovely brown linen skirt you left behind after a week’s visit with me when we were young girls on the brink of life. I hope you have not spent too many of the decades between that summer and this one riffling through closets, calling various hotels, reaching out to friends to whom you might have lent it.