Collared
The last time I went to the church of my childhood, I wore my collar—my hot, plastic, clerical collar. I felt obvious and tender in it, like a burgeoning zit, like everyone would stare. And yet, I wanted them to stare, I wanted them to look at me and be amazed.
Because there should be nothing odd about it. I am an Episcopal priest, a priest in the denomination of this very church. But there was everything odd about it, because in this particular parish, I would never be allowed to stand at this altar and speak the words of the eucharist, consecrating bread and wine into the elements of holy communion. I wore my collar anyway.
I took my place in a pew, halfway up on the right side, under the soaring oak beams of the nave, and opened a hymnal. Reds and blues from stained-glass windows washed over my hands. Around me, the cream of the community stood—women with blonde pageboys, men in blue blazers and khakis, button downs and rep ties. The procession moved down the aisle behind cross and torches, the choir singing, sopranos, then altos, tenors, basses, a second cross for the altar party, the eucharistic ministers, the deacon, the priests, all men behind that second cross. Still, in the twenty-first century, all men.
The sidewalks in West Philadelphia are notoriously uneven. Cracks splinter across a cement landscape of protruding roots and gnarled knots, a battleground of nature’s rebellion against the cages built by mankind. Litter adorns small patches of grass like jewelry, reflecting the sun’s rays as it pierces through thin layers of clouds.
Praying during the first grief-soaked month following my father’s death felt rote to me. Awkward. I had taken on the obligation of saying the Mourner’s Kaddish every day for at least a month before realizing I had forgotten how to pray. A professor in college who gave me a C on a paper about James Joyce’s Ulysses said I was like a blind woman trying to describe a painting in front of her. That’s how it felt saying the Kaddish.
I am seven years old. It’s time for communion in my United Methodist Church in a small town in mid-Michigan. After watching communion by intinction happen for so many years from the sidelines, I am excited when my mom tells me it is okay for me to line up in the center aisle with her and slowly shuffle forward, waiting for my time to tear a piece of bread off the soft, white loaf and dip it in the grape juice.
Last year - I came out of a chaplaincy year that wrecked my idea of what I thought I wanted for my ministry.
But what do they say – make plans and God laughs.
God laughs and I get whiplash.
I am Clergy. My name isn’t on a roster for it anywhere; there’s no organizing body that ordained me and all my fellow clergy; I didn’t attend a seminary school. Still, I am Clergy.
We’d never had a woman pastor before.
When the United Methodist Church in my small, rural, mostly Mennonite town found out that the Bishop assigned us a female pastor, the conversation around town was in full force.
Don’t you want that baby doll?
She’s pretty and you could dress her and feed her.
How else will you learn to be a good mommy?
Girls wear dresses, not pants. Those are for boys.
You’re not a little boy.
About two weeks ago, I officiated the wedding of two good friends, both Christian ministers. The prospect of officiating a ceremony where pastors were not only a fair part of the audience but also the main participants was daunting to say the least, but in some ways not as daunting as the text they had picked for my homily.
It has always been like this, in the church that brought me up. In the 1970s, when I was fourteen, the beloved rector said I could never be an acolyte, because that might give me the mistaken notion that I was called to ordained ministry. And that would be so sad, wouldn’t it? In the 1980s, his successor told my husband and me in premarital counseling that if we decided to keep our own names, it would lead to “separate vacations and probably divorce.”
And yet, here I am, collared and credentialed. Somehow, the wall of masculinity failed to prevent God from breaching the barriers. Somehow, in the music, the prayers, the taste of the wafer dissolving on my tongue, in the very breath of the place, the stillness on a Sunday night after youth group, the candles burning in the dark at the Easter Vigil, somehow, the wall failed to hold. Somehow, God found me anyway. In this place. Regardless of what anyone said.
And so, when I returned to my hometown to visit family, I went to church. I wanted to see if God still floated around in that space, between the banners and the organ pipes, underneath the pew kneelers, creeping in all the cracks of all the walls human beings made to shut the dangerous Spirit out.
It was all there, just as it had always been. The patriarchy and the Holy Spirit, dancing some kind of crazy tango of “no, you can’t,” “but you must.” I still felt it all, just as if I were fourteen again. Even knowing how it all turned out in the end, the intensity of the dance still burned.
I wore my collar to church that day. I wore it as a sign that I belonged, even though I did not belong here. I wore it as a sign that I was acknowledged, even though I could not be acknowledged here. I wore it to say that I am no fantasy. I am real. I am real. I am real.
-Kit Carlson
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.
Kit Carlson is an Episcopal priest and a life-long writer with work appearing in publications as diverse as Seventeen Magazine and Anglican Theological Review. She is a Pushcart Prize nominee, recently published in Ponder Review, Little Patuxent Review, and The Windhover. She is author of "Speaking Our Faith" (Church Publishing, 2018). She lives in East Lansing, Michigan, with her husband Wendell, and Lola, a nervous rescue dog.
I didn’t know better. That’s what I tell myself, anyway.
I was seven and fascinated by my friend Kasey. She was a redhead, and she’d just gotten a perm. I thought she was the prettiest thing I’d ever seen. I told no one. I figured we were simply special friends. I didn’t know better.