Hidden Girl,
I see you.
I see you walking through the halls with your books pressed up against your chest so uneasy and unsettled. I see you sitting uncomfortably in class extremely intelligent and driven, but bearing the feelings of belittlement and inferiority because of the jokes about your nose and bumps inconveniently distributed on the surface of your big cheeks and forehead. I see you writing in your journal and doodling in your workbook. I see you angry and protective, but unsettled by the things people have said about you. I see the pieces of you you selflessly gave in exchange for unexpected disappointment. I see you looking at the things you don't have, right now, you cannot see everything you're made of is more than anything you've set your eyes on. I see you underneath your hoodies you use in efforts to make yourself less visible. I see your frustration. I see your resentment.
Hidden Girl, I've seen you, and I see that you cannot see the perfection behind the imperfections that are constantly shoved into your face. I see how some people treat you. I see you waiting for the bell to ring so you can go home. I see you wanting to fly. I see you crippled by the absent and often overlooked. I see you unsure.
I want to write a story about the decapitation of glorious women. A story about the mighty falling. A story about heads tumbling in baskets. A story about the mouths that posthumously moved and eyes that blinked even after the head was severed. A story about the wigs that flew. A story about the heads that rolled.
I’m always sweating. I get on the subway—I’m sweating. I clock in at work—I’m sweating. I’m asking the server where the bathroom is—and woohoo, I’m sweating.
In 1970 one drop of rain hitting the ground every ten inches constituted a ten-inch rain in Tempe, Arizona, home of Arizona State University and me, my freshman year in college. Wetback referred to a co-ed who made out on the arid soil after the sprinklers ran in the morning, not migrant workers. People spit on soldiers coming back from Viet Nam. The Women’s Movement quaked on the cusp of exploding. And me? Well, before Titanic, before Leonardo Di Caprio declared himself King of the World, I stood atop the footbridge over University Boulevard and surveyed the student-lemmings who marched along the sidewalk.
You write the thing in a flurry in November. You write it in response to a journal’s call for submissions. The journal has feminism in the name. You consider yourself feminist in the “women are equal (and also kickass)” way, but you’ve never written a *feminist* essay before.
The other day, I was walking outside to eat my lunch. I prefer to eat outside as it gives me an opportunity to see the sun, get some fresh air, and get away from the noise that permeates an open work space. The path I take to the outside takes me through the cafeteria/eating hall area.
“Come on Beth, while Urkie’s not looking, let’s do a magic carpet ride even though she told us not to.” My cousin Carolyn’s magic carpet ride meant my sitting on top of one of our grandmother’s assortment of throw rugs and Carolyn pulling me at top speed up and down the hallways and other wooden floor rooms of Grandmother’s boarding house in Birmingham.
Dressed in a salwar kameez, I twirled and danced inside my room. I loved my long red tunic, the loose flowing pants and the sweeping scarf looped around my neck
I don’t miss him, but what I do miss is sitting on the cold sand of the beach in October, when the wind shivered my young bones, and I would huddle against him, burying my face into his cigarette, scented pullover. He would cross his arms for his own warmth, with a Marlboro Gold hanging from his blue lips. He never wore a jacket and even after all this time, this is the only way I can remember him.
oo often single mothers are accused of being bitter and still stuck on wanting to be with her child’s father. But, in my opinion, being bitter has nothing to do with it. It’s just all that stress of doing everything by yourself that’s piled up on your shoulders and everybody takes it for attitude.
I know how you feel, but there are things I see that you may not right now: I see someone special. I see someone who is gifted...destined. I see a girl who would leave a hole in the world had she not existed. I see someone who will overcome. I see you with a heart that can mend and bear to carry an entire universe.. I see you. I. see. you. You cannot hide from me, and I don't want you to. So even if it's just me who sees you, I want you to know you are not alone. I want you to be tough and courageous, loud and remorseless. I want you to be brave. I want you to fight. I want you to keep going. I want you to hold onto to yourself for yourself. I want you to believe. I want you to be. I want you to love yourself. I want you to show up for yourself even if no one else will. I want you to know I am here for you...still fighting, still believing. I will always see you.
You will flourish.
-B. Elae
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.’
Cover photo by Nicole Mason
It was a perfect August day, and the Wolf River was clear and cool. The leaf canopy of spruce and cottonwood sparkled overhead, like shards of brilliant green glass backlit by intermittent bursts of sunlight.
Dave and I were trying out the twin red kayaks that his kids had given us the previous Christmas. Everyone agreed we had been working too hard, and the weight of a business we could no longer save was taking its toll.