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Archive for the ‘writers conference’ Category

We are ready to announce our program for the conference this November.

We have yet to line up all the literary agents but will let you know as soon as they are confirmed. To get that announcement, be sure you have subscribed to our site. You will receive an email when we make the announcement.

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We are very pleased to have lined up two dynamic speakers for this year’s WriteAngles conference, Randy Susan Meyers and Breena Clarke.

Once we have confirmed all the details of our program we will be posting further information. If you subscribe to this site, you will receive notices of the schedule, panels, and agents via e-mail.

Also, as we begin to publicize the conference, we want to extend a big “thank you” to Ryan Sheffield, who kindly let us use artwork from his Authors Series on our promotional bookmarks, one of which is shown here.

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We have a date!

Please mark your calendars for Saturday, November 18, the date we have reserved with the Willits-Hallowell Center at Mount Holyoke College for  our 2017 conference. Planning is now underway!

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Photos by Sandra Walker.2016conference24-2

Keynote speaker Carole DeSanti addresses the audience.

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Literary agents John Rudolph and Kirsten Carleton.

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The panel on The Craft of the Picture Book.

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2016conference9Left: Liz Bedell, moderator of the Truth and Lies memoir and autobiographical fiction panel, with morning speaker Lisa Papademetriou.

Below: Audience member chats with Truth and Lies panelist Jennifer Eremeeva.

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Two of the raffle winners.

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Thank you

thankyou2Thanks to everyone who made yesterday’s WriteAngles conference a success. Here are some photographs taken as the day began with participants visiting while they enjoyed a light continental breakfast in the Willits-Hallowell center.

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P.S. We are continuing to accept flash memoir contributions. Please take a look at the latest, by Diane Kane.

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melaniebrooksThe following interview was conducted by Liz Bedell, moderator of the Truth and Lies: Telling Our Stories in Memoir and Autobiographical Fiction panel at this year’s WriteAngles conference.

 

Why did you become a writer? When did the writing bug first bite you?

For as long as I can remember, story has been the tether that keeps me grounded in my world. I grew up with three brothers. As the only girl, I was just a little bit on the outside. Separate. We were a family of readers, and I learned to read early. I soon discovered that the land of books opened a space where I could connect to other girls like me. Find some sisters of my own. Actually belong. So, I read. A lot. I was drawn to series like Nancy Drew, Little House on the Prairie, Anne of Green Gables, and The Chronicles of Narnia that let me latch on to beloved characters and follow their lives beyond the borders of a single book. I went through a horse phase during my preteen years and read anything about horses I could get my hands on. I attached to particular authors – Beverly Cleary, Road Dahl, Judy Blume, Lois Duncan — and consumed everything they’d written. When I wasn’t reading, I was often imagining stories of my own. Intricate scenarios unfolded in my mind and built the platform for my play. Sometimes with friends, sometimes on my own, I became the fictional characters I loved so much, acting out their lives, continuing from where the books left off, developing my own sequels to their stories. I’d lay out the groundwork for a scene — details of setting, backstory, conflict, character, even wardrobe – before doing anything else. Without ever actually putting pencil to paper, I was learning to write. And without knowing how vital it would be down the road, all of this early reading was teaching me the comfort and companionship of words. I was a good writer in high school, but I never considered it as a career. I came from a family of medical professionals, so that path was on my radar. It wasn’t until college, when I took a creative nonfiction writing class — a class that offered me my first real exposure to the transformative power of giving words to experience – that I recognized writing was something I wanted to do. It took me twenty more years, though, to commit to it as a career.

What is the most rewarding part of being a writer? The most frustrating?

The most rewarding part is recognizing that the stories of my experiences have the power to connect to others, that they aren’t just about me. When a reader says, “Yes, me too!” I feel like maybe I’ve helped someone feel a little bit less alone, and that makes the risk of exposure that comes with the territory of writing nonfiction feel a little bit easier to bear.

What’s most frustrating is the ongoing self-doubt that lives inside me no matter how many stories I write, how many pieces I publish. I still feel like an imposter. I still sit in front of that blank computer screen wondering what makes me think that my words matter, that my experiences are so unique that they should end up on the page. It’s the battle I fight all the time.

Can you tell us about your forthcoming release?

WRITING HARD STORIES: CELEBRATED MEMOIRISTS WHO SHAPED ART FROM TRAUMA (to be published with Beacon Press on February 7, 2017) profiles my conversations with eighteen memoirists, including Andre Dubus III, Joan Wickersham, Mark Doty, Marianne Leone, Richard Hoffman, Edwidge Danticat, Michael Patrick MacDonald, Richard Blanco, Abigail Thomas, Sue Silverman, Kate Bornstein, Jerald Walker, and Kyoko Mori. I wanted to hear from them about the psychological journey of diving into their darkest of memories and what it felt like to put words to those experiences. These conversations are intended to encourage all writers as they work through their challenging stories. They also provide readers with intimate glimpses into the lives of the authors they love.

What inspired it?

When I began my MFA in creative nonfiction in January of 2013, I decided to start writing about a family story that I’d held very close for almost twenty years – living with the secret of my father’s HIV infection when, in 1985, he received tainted blood during open heart surgery. For the ten years before his death in 1995, I lived a hard silence that has had a lasting impact. Stepping into that experience was much more difficult than I’d anticipated. I was caught off guard by the emotional toll it took on me and often found myself paralyzed by it all. It led me to ask some painful questions: What does it take to write an honest memoir? And what happens to us when we embark on that journey? Would I be able to manage it? I decided to seek the guidance of other memoirists who’d done the hard work of shaping their hard experiences into memoirs in hopes of finding the courage to write my own.

You’re sitting on the Truth and Lies: Telling Our Stories in Memoir and Autobiographical Fiction panel at this year’s conference. Can you tell us a little bit about what you’re planning?

The challenge for most memoirists is portraying our experiences as authentically as we can. Often, that forces us to walk a delicate line between what might be considered “factual” and what we consider the truth of our own stories. And sometimes those things feel contradictory. The questions we have to ask are: How do we capture the truth of our experiences and the legitimacy of our own memories without distorting the facts to the point where we are lying about what happened? And what actually constitutes a lie? For me, writing about experiences from my childhood has necessitated that I fill in some of the blurred edges that surround my memories. I’ve recreated dialogue that feels true to the events, but may not necessarily be the exact words spoken. I’ve described settings the way I remember them, but there’s no guarantee that I’ve gotten all of the details factually correct. But I’m confident that I’ve captured the emotional essence of the experiences. My hope is that our panel opens up a discussion with our audience about how to navigate those tricky areas of recreating the past as honestly as we can.

What are you working on now?

I am completing my memoir, A COMPLICATED GRIEF (working title), that explores how the ten years of keeping the secret of my father’s illness and the specter of disaster that inevitably loomed ahead defined my life. The complicated nature of his disease and the grief of his death have had an indelible impact on me. Writing my memoir is an attempt to understand that impact. My sense of self, my worldview, my faith, and my family are among the threads that weave this story together. I am in the process of completing the proposal for this book in hopes of putting it in the hands of my agent in the next month.

Is there anything you would like to add?

Writing is hard work. It challenges us to enter uncomfortable territory and face ourselves and our experiences honestly. Though the writing part tends to be solitary, dealing with the emotions it stirs up need not be. The more support we have from other writers along the way, the more we enter into dialogue about the writing journey with others who are traveling the same road, the less daunting the process becomes.

For more information, visit Melanie’s website. Her photo: Helen Peppe Photography.

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dianagordonThe following interview was conducted by Joan Axelrod-Contrada, moderator of the Are You Ready? Submitting to Literary Journals panel at this year’s WriteAngles conference.

 

Why did you become a writer? When did the writing bug first bite you?

I wrote as an early teenager. I remember a long extended poem, “Black Jack,” in rhymed couplets about the riderless horse that followed JFK’s caisson, empty boots turned backwards in the stirrups to indicate a fallen leader. Freshman year in college I took my first creative writing class and was the only student ready with material. I’d never had any work critiqued before, and the professor used my sonnet to prove that the sonnet was dead. I’d also written a quirky short story about a date where the boy confessed he was Jesus, and the professor said the author was psychotic – at least that’s what I heard. I knew that wasn’t true and only thought, alarmed, I’m going to flunk creative writing. So I dropped the course, and went on to have a music career that took all my time and artistic energies. Years later, when I returned to writing, I finally honored the fact I’d been creating sonnets and short stories on my own when I was so young, and finally affirmed the sonnet is not dead!

What is the most rewarding part of being a writer?

Re-reading and revision. That’s where a writer gets to marvel at what’s been created where nothing existed before, to enjoy what is, and then make it shine and bring it to its true self.

The most frustrating?

How hard it is to face the everydayness of the blank page.

Can you tell us about your latest release?

I’d like to tell you about what is poised, making the rounds in the hands of a wonderful agent at top publishing houses. Though no one has bitten yet, there has been a lot of praise. It’s a novel called GEOGRAPHY, about a family-less boy struggling to find home in the far northern islands of British Columbia in the 1960’s.

What inspired it?

The stories of men I’ve known who had difficult upbringings, foster care or abuse, and rather than blame their past, grew up to create the world as it should be. I started writing a composite account of their fictional childhoods, intending to write about heroes, but GEOGRAPHY became its own story.

You’re sitting on the Submitting to Literary Journals panel at this year’s conference. Can you tell us a little bit about what you’re planning?

Submission is either daunting, if you haven’t done much of it, or odious, if you’ve done a lot. I know that as moderator it’s your hope that we give folks a leg up on the process. With special dispensation from the conference, I’m also sitting in on the afternoon panel called How To Stop Warding Off Poems and Learn to Love Them. Patricia Lee Lewis, Doug Anderson, and I will be talking about the difficult, obscure poems, how we’ve learned to enter them; we’ll be leading the group in a what we hope will be a revelatory experience with a short, difficult poem.

What are you working on now?

I’m currently juggling. Poems. 30 poems in November for The Center for New Americans. And the prequel to GEOGRAPHY set in Seattle 1925-1946, about the life of a prostitute – but whatever you’re thinking, it’s probably not like that. And a short story about a boy trying to get in between his mother and their neighbor as the adults are on the brink of an affair.

Where can we find you online?

I have a website for my editorial services. Or Google D M Gordon and Diana Gordon, (though there’s a Canadian Diana Gordon who writes poetry and paints).

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