Lately I’ve been thinking a lot about the intersection of vocation – or what I feel I am called to do, drawn to – and family life. I come from a large extended and loving Midwestern Catholic family. Figuring out what I am to do with my life and how I fit into my family is one part of what I’ve been thinking about. Biology of my female body is another. And here’s why:
Five of my friends are pregnant. When my mom was my age, she was pregnant with me, her oldest. When my grandmother was my age, she already had five kids and another on the way. I’ve always wanted to have a child, but it hasn’t been something I’ve really thought much about… until recently.
I just had a birthday. I turned twenty-six. I’m still young! I’ve always thought that I would start a family in my twenties like my family members. But recently, I’ve realized how different my life is than theirs. I did what my family and the culture encouraged and attended universities. I went to school for six years longer than both my mother and my grandmother. And so I also started my adult life six years after they did.
So biologically I’m behind them in starting a family and having kids of my own. But vocationally, I’m not sure what I ought to be doing yet. I keep feeling a desire to go away again, get out of the state, explore and have adventures before I “settle down.” But that doesn’t make sense in my family’s generation before me. So I’m paving the way to what an educated search for vocation looks like.
Midlife doesn’t announce itself with milestones — it arrives in contrasts. One moment, you’re lighting candles for a graduation. The next, you’re watching your mother shrink into a hospital gown.
Josh and I sat in the waiting room, an office building with a view of the Manhattan skyline. I stared at the other women, wondering what they were getting done. I wondered how many of them were here not by choice. How many of them had never contemplated getting fake breasts before they learned they had breast cancer. I couldn’t have been the only one. But I was definitely the only pregnant woman getting a boob job in the crowd.
It is 10:34 p.m. I am journaling about the difference between what I eat and how I taste it.
In other words, it’s not about the chocolate cake. It’s about the pool of saliva swirling through each bite. It’s about the tongue pressing crumb into ganache, the esophagus readying itself to carry each sweet offering down. It is about my body knowing it is safe. Safe to sit, to enjoy, to receive.
One Sunday in January, my twelve year-old and I had an hour between appointments in the Denver suburbs, and found ourselves at a mall. In the age of “add to cart,” we rarely shopped together, and she had grown so much in the previous several months that none of her clothes fit. As we wandered into H&M, my daughter’s eyes lit up. She grabbed armfuls of clothes, including a pair of acid washed jeans with a chain that went from the front pocket to a back belt loop, each link a tiny heart. Maybe they won’t fit, I thought hopefully, as I trailed behind her in a daze. The Friday before, she had refused to go to school, her second school of the year, and one that had seemed promising only a couple of weeks before. I felt like I was hiking along the edge of a cliff in the fog; I had no idea what was going to happen, or how close we were to the edge.
There was a corner in my house that I came to dread nearing, where our daughter’s diaper changing table was set up. It was at the opposite end in our bedroom, where on the other side was the big window facing the endless mountains and winding roads, which got us sold on this house as a newly married couple.
In the minutes after she was born, all of the lights came on. We watched her climb the wall of my body and land, exhausted, at the shore of my breast. Under the sharp white of hospital light, they did the weighing and measuring, and she screamed so that every number and value only reached my ears as alive, alive, more evidence of her realness, her presence. She sent howls up into a brightness that must have been like looking at the sun.
Every week she asked me how I felt and every week, while, in general things were “fine,” I always told her there was almost always a day, or a couple of hours a day, where despondence grabbed me and wouldn’t let go. It was as if someone, something, was wrestling me and trying to get me to give in, to tap out. We were in different weight classes though. I was the lightweight and the despondence was the heavyweight and I didn’t have any agility or tricks up my sleeve to counteract the weight disparity between us.
I stood in front of the gate, but the Delta screen didn’t make any sense. Why wouldn’t the airline have cleared out the Denver flight if the Nashville flight was due to board in the next 10 minutes? I looked for any indication that the departure gate had been changed; I found none.
Every Thanksgiving and Christmas we haul the extra table up from the basement: a cheap white pine table, the varnish yellow now, that we used in the kitchen until eventually it became too embarrassing. When we carry it upstairs, we do it in pieces, and once it's in the dining room the tabletop gets flipped over and lowered to the floor so someone--usually my husband or my son Sam--can attach the legs. As one of them works with screws and Allen wrenches, I read the legends inscribed by our kids on the underside of the table when they were little; the one we see first, in large red letters, is "Boo, Sam sucks a lot, by Nick."
And sometimes it’s more than just familial troubling. For example, right before the winter break I was eating lunch with a few of my college students studying nursing and health sciences (I’m their minister). Somehow we got on the topic of how they’re learning that once a woman is thirty years old the risk of pregnancy complications (and therefore different dis-abilities in these children) increases dramatically. I immediately thought of my age and current situation in life (working as a full-time minister and dating but not nearly ready to become a parent). Could I somehow get my life “in order” enough to have a baby before I’m thirty?
Now, it’s important to note that if I have a child, whatever child I have I’ll love with all my heart no matter how similar or different they may be. But this conversation brought up something more than worries about my (possible) future children’s health; it brought up curiosity about the human body and the encouragement of finding one’s life calling: Is my female body created in a way that awards pregnancy in my teens and early twenties? How do our culture, society, families and religions prepare us to become parents (or even adults!)? Is this time of exploration interrupting my body’s biological baby-making schedule?
So these questions I carry as I continue to explore. I’d like to make a family, similar to that of how I grew up. And I’d like to find my calling so I can feel like I’m using my talents and skills and passion to better the world. But I don’t want them to be two separate things that distract from the other. I know many people have done both. But how can I combine these without wasting away my biological clock?
-Breanna Mekuly
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.’