The Poet
One of my students, a poet, works at a gas station by night. I picture her under the fluorescent lights, composing sonnets and slam poems (her favorite), reading them aloud to the empty store in rural New Mexico, where only a few cars pass by. When the door chime rings, she stows her notebook under the counter and straightens the array of potato chips next to the cash register.
One night in October, the air just starting to chill, her friend comes in. The student, no doubt, has friends everywhere. She’s the kind you’d meet and instantly want to know better—quick with hugs, a sparkle in her brown eyes, an easy laugh, the kind of person who’s willing to ask hard questions. She loves Halloween and Edgar Allan Poe, dark burgundy lipstick, and black nail polish. Across the counter, the friend asks for shots, the ones in the little bottles, a dollar each. The student—the poet, the shopkeeper—pulls four from the shelf. The friend is short on cash, and the student digs out pocket change to cover the fourth shot. The hard question she will ask, for rest of her life, is whether that was the right thing to do. The two women exchange good-byes and promise to get together soon. The door chimes, then taillights disappear down the road, somewhere into the Sangre de Cristo Mountains blanched by the white moon.
The head of the Communications Department, Janine, fixes her big eyes on me and says, “I want you to think about whether you are really sick, or just tired.”
All “business professionals” crawl under their desks to cry, their bank account overdrawn (again), munching candy that coworkers slide beneath the plywood desktop. We all decorate our cubicle walls with drawings by our children, photos of our families, and potted plants that we fail to water, then revive, then fail again. All of us place small plastic goats to the left of our desktops that scream when we push down on them—wild, ugly, depraved screams that fill the room, saying “I’m okay. See? I’m fine.” Screams that ease laughs from workers drowning in hyper-focus, drowning in code, drowning in editing edits.
“Hey Ref! You’re making calls out of your aaass!” the father of a nine-year-old kid in a game I was officiating yelled at me at the top of his lungs, adding a two-handed, open-palm slam against the glass for emphasis.
Handing off the puck to my officiating partner, I skated to my designated position, which happened to be a spot on the ice fairly close to where that parent stood, still pressed against the glass. Slowly, deliberately, I leaned forward with my hands on my knees, focusing on the impending puck-drop—and giving that parent a good look at the region from which my calls were coming.
I donned an orange safety vest and sparkling new hard hat fresh from its cellophane wrapper and trudged up the wide, steep incline under a blazing California sky. My gait was off-kilter, too much weight in the front of my steel-toed boots. The Sony camera slung across my body hit my back every step I took, like a stranger trying to get my attention. I shoved my small notebook and pen into my jeans back pocket and swung the camera around, securing it with my right hand. Up and up the bridge deck I climbed, all the way to the end, halfway across the San Francisco Bay.
Know your muses. At the bar, pretend to browse the booze-streaked binder like it’s a doctor’s office People, like you might as well look at it since you’re here, even though you know better and you’ve spent weeks covertly planning this shebang.
One Monday morning in late fall, my back and neck ached as I sat at my desk at the community college where I had recently started teaching. I tilted my head in a painful stretch as I waited to meet with the students in my writing class for office hours. I wondered if the garden I’d been toiling over was worth it.
He made his way around the seminar table to stand at the podium and present the paper reflecting his semester-long wrestling match with challenges to everything he had been raised to accept without questioning. “He” is a young white man – a law student – who looked as if plucked from Hollywood Central Casting for a crowd scene of stereotypic “Bubbas” attending a rally of the Ku Klux Klan.
The new English teacher—the fourth one in less than three years—looked like a punky Tinkerbell.
She wore her starlight blonde hair pulled into a bun, big oversized glasses perched on her upturned nose (the kind of cute nose I always wished I had) with a dainty twinkling stud. Despite her scarf, a tattooed comet of Fall Out Boy lyrics flowed across her shoulder with a spray of falling stars.
Northern New Mexico—its winding highways dotted with tiny towns and glittering roadside memorials (descansos, locals call them)—is no place I’d want to drive at night. My students don’t understand this fear, perhaps because it is a fear they cannot afford to have. Many work graveyard shifts or rise at 3 a.m. to commute an hour to Santa Fe, where Starbucks pays better than anything in our small town. The students, most of them from this rural community, don’t see danger the way I do. They don’t know large cities like I’ve lived in, with bright lights stretching over the interstate, with plentiful places to stop if you break down. Cities, of course, have their own set of dangers, different from the those that lurk here, just around a hairpin turn on a mountain pass, or across a median of sagebrush and into oncoming traffic.
The student—the poet, the shopkeeper—pulls out her notebook. She can’t hear what is already too far away to discern: the screech of tires, the crunch of cars colliding. She can’t see her friend’s blood staining the highway, marking the spot where a descanso will soon shimmer on the roadside. Instead, she sees that the gum and candy are in tidy rows, the little liquor bottles restocked, the gas pumps unoccupied. Instead, she hears her own voice reciting slam poetry into the bright, silent store. As the student counts her cash drawer, closing up for the night, a moth flutters against the window, pressing to get in, using all the strength left in its tissue-thin wings, hovering until it dies trying or gives up and flies toward another light.
-Lauren Fath
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.
Photographer: Kerry Kehoe
Lauren Fath is the author of the lyric essay chapbook A Landlocked State (Quarterly West, 2020) and My Hands, Remembering: A Memoir (Passengers Press, forthcoming 2022). Her work has appeared in Fourth Genre, Gertrude, High Desert Journal, and Post Road, among others, and has received Pushcart Prize and Best of the Net nominations. She lives in Las Vegas, New Mexico, where she is an associate professor of English at New Mexico Highlands University.
For twelve years, I was an elementary school teacher in the Los Angeles Unified School District.
One hundred eighty school days each year.
Five years teaching kindergarten.
Six years teaching fourth grade.
One year teaching fifth grade.
The simple definition of teacher is one who teaches. But the reality of what it means to be a teacher is so much more.