Dear Scarlett,
I want to tell you not to go to the bar that night. I want to say, “Just stay in with a good book.” But I know you. If I tell you, you'll only be more determined to do it. So get dolled up, go to the bar, listen to the band, and dance your heart out. But listen. Listen when your best friend tells you to stay away from him (they work together and there have been rumors). Listen when the things he tells you don’t sit quite right. Listen to your body when he dances too close and makes you uncomfortable. Listen when the red flags go off in your head. And please, please, please, listen when your gut tells you not to go home with him. Like Mom says, “Nothing good happens after two AM.” Believe it or not, she knows what she’s talking about.
I write this fully knowing that you won't listen to any of it. It’s Saturday night, you worked hard this week and you deserve to let off a little steam. You will go to the bar. You will fall for his charisma, his charming compliments, his dimples. You will dance most of the night with him, even though he makes you uncomfortable. You will ignore your friends, their warnings and your own gut instinct. You will ignore all the red flags. You know better than to get yourself into a bad situation. And even if you did, you know how to protect yourself. You know everything.
I remember being you. Being you, with your hands tucked under your thighs in skinny jeans that never quite fell to the ankle. I remember those hands, & how they wanted to wander over into his & how you told him with your lips that you would always wonder what it would be like to kiss him, but your lips stayed tucked together. He said he'd always feel that way too, and you let the moment pass, utterly kissless.
I am so sorry everyone deconstructs and changes your beautiful,
complicated name. The pieces of your soft “ca” and lopping “o”
rebranded into southern alternatives like Caroline or Coraline or Carol
or even Carly once, after the doctor said the only Carolyn he’d ever heard
Dear me from one year ago,
I regret to inform you that tomorrow will be one of the worst days of your life.
Tomorrow you will reset the password to log into your joint bank account. You asked him for the password many, many times. He always says, “Oh it’s on my phone… I don’t remember it…I will get it to you when I have time…I can’t do it right now.”
There is no time for pleasantries, let’s get to it.
You will fight a good fight from a place of absolute terror. You will list improbable reasons why you might be the person for whom antidepressants just really aren't the solution. You will throw pseudoscience and bad journalism against a woman with twenty years’ experience and a prescription pad. And then you will give in.
Dear Trish,
It was so annoying how Marlee slid on her jeans, buttoned them easily, and pulled a cream-colored, cable-knit sweater over her head, ready to party. She didn’t wonder if the pants were too tight, if they made her look fat, if the shirt covered the soft rolls of her stomach.
Dear Melina,
I write this love-letter to you when I am old enough to be your grandmother, and when Grandma was my age. Time is a funny thing. It unspools before us and then folds in on itself to be carried forward into the memories of body and soul. You are eleven years old in this memory. You are a child on the cusp of womanhood, and I am a woman on the cusp of old age.
At this time, your purpose is unclear. But eventually, it will be apparent why you are here on Earth. I know every day is routine – your forty-five-minute commute to your job, the mundane workday, the chaotic drive back home through traffic to smoke weed in your living room, then eat something and fall asleep.
Dear Teenage Deb,
Coming of age in the 1970s, you sometimes marvel at the inconceivable notion of one day living in the twenty-first century, of being forty-three (ancient!), when chimes clang and horns blare, welcoming a fresh numeral on humanity’s odometer. However, you also doubt the probability of living to the year 2000, since the Rapture is bound to occur at any moment.
Dear Past Me,
Congratulations. You are flying high and holding on tight. From the perspective of those on the ground, it seems like you could be floating up there forever, gripping the strings of a colorful bunch of balloons, symbols of success in a society that requires outward markers. One of yours is filled with the confidence of a post-graduation job as a public defender, where you will save the lives of your clients and probably fix the entire criminal justice system while you’re at it.
You will live to regret that night. For years, you will replay it in your head. All the times you could have, should have stopped him. All the times you had an easy out but didn't take it. You could have ignored him like your friend told you to. You could have turned him down when he wanted to dance. You could have left when your friends did. You could have gone home at bar close. But you didn’t.
You will replay the morning after too. You were still wearing last night’s now disheveled clothes. Your mascara was all over your face. The old lady in her Sunday best mean mugged you, surely thinking how irresponsible you must be. You tried to pretend everything was okay because you felt so numb you weren’t sure it even happened. Taking the hottest, longest shower of your life, you didn't realize you were washing away evidence. Why would you? Your body had never been evidence before.
You will never be the same woman who got dressed up that night. You are different now. You will never trust your gut instinct (or any man) again. You will become paralyzed in the thought that you can’t protect yourself against anything. You will stop thinking you know everything. You will never go into the dark alone again. You will stop writing. Not writing will cause you to bottle your emotions. That will cause many explosive nights.
It will take more than a decade, but you will eventually be stronger for it. You will help other women because of your strength and compassion. You take self-defense classes and learn you are not alone. You will start writing again. The first time will be an ugly, drunken night. Who knew all you needed was a little scotch? With the floodgates finally open, you will feel more like a survivor and less like a victim. You still don't go into the dark alone. Maybe you never will.
-Anonymous
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.’
Wash your hands after using the bathroom, before using the bathroom if you’ve been outside first, before dinner, after playing with any toys, instruments, or feeding your fish. Even if you’re about to take a bath, if you’ve just done