The Hard Answer
Once a year at the place I work we have this training. It starts off like most trainings you’d have at your work. Everyone comes together, complaining that they have better things to do than be here at this. You find your friends and sit together and talk about your day so far. We have an expert come in and talk to us, and then we do some group work on the topic and call it a day. It’s a workplace training that myself and the people I work with are used to. It’s a training for what to do if there an active shooter in my building. My building is an elementary school that is filled with 800 children everyday. The active shooter training is the one we dread the most. We are educators, not police or military. We are experts in reading, and math, not barricading and disarming. Yet, there we are. Learning how to do those very things from some very brave police officers.
The worst part about the training is when we actually pretend there is an active shooter there. The person fires blanks and tries to get into our classrooms—tricks us into thinking its safe to come out, and will occasionally take a hostage. It’s pretend. We know it’s pretend. But the sounds are real, the smells are real, and our actions have to be very real. We have children to protect. Precious children who have been entrusted to us by their parents. Every single adult I work with would put themselves in the line of fire to protect those children. It’s not even a question.
So, like clock work, once a year we practice. As we huddle in classrooms, knowing truly we are safe, the thoughts still run through our head—the what ifs, and wheres, and whens. The thoughts of Newtown and Columbine. Thoughts we dare not speak in that training, because as pretend as the training is, we get a fractional glimpse of what it was like there. And it terrifies us. We think of the faces of our beloved students and tell ourselves, “whatever it takes, I’d do it, I’d keep them safe whatever it takes.”
Pencils, three, sharpened. Done. Pens, three, filled with blue ink. Done. Writing board with clamp set ready. Done. Water bottle filled. Done. Hair oiled and tightly plaited. Done. Dressed into a comfortable salwar-kurta. Done. Eat? If, and only if, there were idlis. Soft, piping hot idlis with coconut chutney.
God, or kismet, or intuition, or chance, wakes me up. My cell phone’s home screen lights up my bedroom. I reach for it. My news app notifies me that there is an ACTIVE SHOOTER targeting NED PEPPER’S BAR in the OREGON DISTRICT of DAYTON OHIO. The alert was originally sent fifteen minutes ago. I immediately dial Brianne’s number, one of three numbers I’ve committed to memory. I need to know if my friend is oh please I can’t even think it.
Like many eccentric children, I had often wished I could be afflicted with some kind of physical ailment, imperfection or secret status—something that would make me unique and special.
I have my face waxed every few weeks.
Hot wax is smeared down the sides of my face, over my cheeks, across my jawline and to my neck. Then, it’s ripped off in an instant. In that second before it is ripped off, my body automatically tenses, waiting for the pain that I know is coming.
Once a year at the place I work we have this training. It starts off like most trainings you’d have at your work. Everyone comes together, complaining that they have better things to do than be here at this. You find your friends and sit together and talk about your day so far. We have an expert come in and talk to us, and then we do some group work on the topic and call it a day. It’s a workplace training that myself and the people I work with are used to. It’s a training for what to do if there an active shooter in my building. My building is an elementary school that is filled with 800 children everyday. The active shooter training is the one we dread the most. We are educators, not police or military. We are experts in reading, and math, not barricading and disarming. Yet, there we are. Learning how to do those very things from some very brave police officers.
But should we have to think that?
Should we teachers, aides, counselors, and principals have to think that?
I work at an elementary school, not a military base.
Should we have to have a training where we learn how to take down an armed intruder who has come into our world of songs, and books, and art, and love?
Should we have to panic every time we go on lock down because we don’t really know what’s going on, or if this is it?
I don’t know the answer. I’m an educator, not a policy maker. It’s a hard question and an even harder answer. I’m not sure if we’re ready to hear it as a nation, but I look at my co-workers during the training, they try to act like it’s normal, as we push tiny desks up against the door and plan how we’d instruct first graders to throw books at whoever comes through that door. Practice yelling the location of the shooter. Rehearse asking the officer to show me his badge because he might be tricking me. We practice running out of the building to safety. But I see it. I see the fear and the questions in my coworkers. I feel it myself. There are so many questions. But I know we need an answer.
-Kelly Albrecht
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.
I read an article in our local newspaper about a high school coach who had just been fired for abusing his male students. I was in my early forties, and remember taking in the article (yes, back in the day when people still read an actual newspaper) and contemplating the unpleasant information that a football coach in a city just north of where I lived had inappropriately touched his male students. My next thought was, Oh, that happened to me.