There are a thousand previous versions of myself. They are not so different from one another, some a little sassier or little quieter, a little more doubtful or a little more confident. For most of my life they have bled into one another, and it is only later I can look back and see the change.
But when my friend Céline died, it was not a shaping or shedding but a rupture. When she was killed in a car accident in January, the version of myself I used to be shattered. She broke and forced me out of her before there was a new version for me to inhabit. It is as though I am without a shell, looking at all the other shells of myself I used to inhabit. These versions of myself I used to be are not so dissonant from me, but they are not me. They are not me as surely as my reflection is not me, as my favorite character is not me, as my best friend is not me. They are relatives, close but distinct.
Some of these versions I do not miss—angsty ones, dramatic ones, depressed ones. At sixteen I was convinced I was wildly conspicuous and wholly inadequate, a feeling I wouldn’t reclaim for anything. At twenty-five, however, I was exuberant and bursting in a way that makes me ache with longing to think about. It felt like every skin cell on my body was a different possibility and every possibility was on fire. It felt like my life was a map with huge uncharted territories that were mine to explore.
The map I hold now is more filled in, and the woman I am is not quite so wild and unformed. I have made choices, which closed off other choices. My time in the blindingly blank spaces of the map has sometimes been thrilling, but often isolated and confusing, leaving me unsure if it was the map or I who was incomplete.
And, of course, both the map and I are incomplete. Not because we are inadequate as my sixteen year old self feared, but because the world and I are always changing. Because my skin is not on fire anymore and part of me is devastated and part of me is relieved. Because there are landslides and earthquakes and the coastline of the soul is difficult to pin point.
On Monday, August 20th, 2012 at 11:54 p.m., a piece of rail snapped beneath an eighty-car train carrying 9,837 tons of coal as it passed over a bridge above Main Street in Ellicott City, Maryland.
Just a moment before the accident, Elizabeth Nass and Rose Mayr, two nineteen-year-old friends spending one last night of summer together before heading back to college, sat on that same bridge, dangling their legs over the edge.
Just a moment after, the train cars tipped over on their bodies, crushing them beneath piles of coal.
I stand at the church parking lot entrance and stop each car.
The surface lot is small and we’re saving it for those who NEED to park closer. Please park in the parking garage, yes, the one RIGHT there, and get your ticket validated inside for free parking.
I smile, nod, and point.
Right now, I am looking at a photo of us. From a lifetime ago. Stuck within the pages of an old book, the photo fell to the floor.
I stretch out my legs on the sand. I can see her almost approach me. She is wearing a white beach jacket and a straw hat with a veil over it. In sunglasses and standing proud, her breasts sprout. No one would ever have suspected the loss of one or the other. She is smiling, and her mouth says, ‘I am happy in the land of palm trees, coconuts, and certainly, I don’t have to search for any monkeys because I was never one.’
Elise is standing in front of her dresser mirror, a tangerine in one hand, a wad of Kleenex tissue in the other. Her dark-eyed reflection stares back at me beneath a fringe of stylish blond-brown bangs. In our fifth-grade class, Elise is a golden goose amid the rest of us awkward ducks, with her pert nose and movie star mole at the corner of her mouth.
My favorite book by bell hooks is in my friend Kjersten’s house, I think. We’d spent a Friday afternoon in my kitchen with fellow mom friends, our circle’s version of Happy Hour, discussing love, grief, loss, and healing, our children tossing a football around outside. I mentioned my love for hooks and her writing on such topics, and Kjersten expressed interest. I told her hooks’ words changed how I approached my most meaningful relationships, helped me understand past communication breakdowns. hooks pushed me to embrace honesty and openness, to recognize love as a verb: “To love somebody is not just a strong feeling - it's a decision, it's a judgement, it's a promise.”
“Hey, ain’t you Jesse’s sister?” Jesse’s sister, that name should have been on my birth certificate. Not one of my brother’s friends ever called me by my first name. Did they know it? Even Kevin, who always found his way into my room when my brother was in the bathroom.
Whenever I see a drawing of a bird, I think of my sister. Cherie had a fascination with birds and an encyclopedic knowledge of every species. She worked at a wildlife center and fostered the injured birds, but she had a particular fondness for the birds of prey. She took beautiful photographs of hawks, eagles and owls, and sketched them every chance that she had.
It was the fall of 2010 that change my life forever. I was a freshman in high school going through many changes in my life already and just trying to find out what I wanted to do in the next four years. Then something tragic happened that I would never forget. On October 19, 2010 my longtime friend Daniel, who had cerebral palsy and a brain tumor, lost his battle to the cancer.
I can feel the coastline shifting especially poignantly now, in the wake of Céline’s death. I can feel the sand slipping away beneath my feet, I can see debris and pebbles carried in by the waves. Perhaps it is no more true than it ever was, that I am becoming some other person, becoming some familiar stranger. It is just that I have mourned it, grasped at it, tried to keep the ocean from shaping the shore, from taking Céline, from taking me.
And yet we are both gone. Her body is gone and my former self is gone, and there is nothing to do but try to honor us both in this person I am becoming, in this new shell that is forming over my raw and swollen heart. This new person I’m watching myself become will probably not be so foreign from the other versions. I know she is sadder. She is both angrier and more empathetic. She is more forgiving of herself, and I hope she will be more forgiving of others. I hope that she will be like Céline and make friends everywhere she goes, that she will move towards fiery possibility instead of away from fear, that she will view faith and adventure as intertwined.
Most of all, when I leave behind this new stranger I’m becoming to become a different new stranger, I hope to bring these threads with me into every new self, that in my own quiet ways I can always live into both Céline’s and my possibility, be wild and gentle with both of our souls.
-Holly Mueller
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.’
Cold. Alone. Dead. These were the few words that registered among the many spoken to me on that horrific afternoon when they came to tell me my son was gone. Fentanyl was added to the mix over the coming hours.
“Who? What? How?” repeated over and over again was all I could muster in response.
“We don’t know,” was their answer.
My living, breathing nightmare had only just begun.