An Interview with Lindsay Starck, 2018 Cirenaica Writer in Residence

By Emilia Hurst

I recently got the chance to chat with Lindsay Starck one of our writers in residence.  Lindsay is a professor at Augsburg University and the author of Noah’s Wife.  Get the chance to work with her at the Cirenaica retreat this summer, “Thickening the Plot: On Creating Tension and Suspense in Fiction” which will run from August 2-5.

Emilia: What would you say are some of your best personal writing experiences? 

Lindsay Starck: I heard another writer say once that 15% of writing happens when you’re sitting down in front of your paper or your computer, and the other 85% happens when you’re out interacting with the world—walking or cooking or talking with friends. 

Some of my best personal writing experiences have occurred when I’ve stepped away from the page and sat down to talk about the craft with fellow readers and writers who are willing to swap ideas and share experiences. 

How would you say writers can look forward to growing in their craft at this retreat? 

Writing is typically considered to be an activity you do in isolation, but this retreat provides the opportunity to reflect on the process and the product with other writers. Participants will share ideas about stories and techniques, and we’ll be able to experiment with new ideas and new styles. Ideally, we’ll all leave the retreat feeling more inspired and excited by our projects than we were when we arrived. 

What's something you'd like to tell us about your own writing? 

My first passion as a writer is for language. When I wrote my first novel, I believed that beautiful sentences would be enough to create a strong story. I revised that manuscript for several years, during which time I learned the importance of narrative elements—tension, rising action, questions—that help keep readers engaged. Now I’m trying to write stories that balance poetry with plot. 

What are some more specific things writers can look forward to at this retreat? 

Plenty of time to work and reflect on the craft; engaging conversations with fellow writers and mentors; delicious meals; insight into the publishing world of literary magazines; a few days free of all other obligations so that you can immerse yourself in the life of a writer. 

What are some things you've been reading and enjoying lately?

I’ve been slowly working my way through Prairie Fires, the new biography of Laura Ingalls Wilder. The book does a wonderful job describing the historical context surrounding the Little House series. It’s also very cool to be reading it while living in the Upper Midwest, since Wilder spent many of her early years in Wisconsin and Minnesota. The most recent novel I read was Jenny Offhill’s Department of Speculation, which was experimental and moving. I might reread Elena Ferrante’s Neapolitan Novels this summer, since I enjoyed them so much the first time around. 

How would you describe your writing process? 

I’m very type-A, so I like to plan out my project before I begin it. But once I start writing, the story goes in a different direction. So I have to scrap my plan and come up with a new one. Then I start writing again, and the story slips out of my grasp once more. So the writing process, for me, is a constant balancing act between plotting out the narrative and allowing the story to find its own shape. 

What is one of your favorite places/settings to write in? 

I like to write in coffee shops. Sometimes I put my headphones on and listen to white noise, and other times the din of the coffee shop is white noise enough. Lately I’ve been getting up and writing before doing anything else, like reading my phone or checking my email or even making my breakfast. I heard a writer say that this early morning hour is the perfect time to work because part of you is still in that hazy, vivid dream world, which gives you the space to form fresh sentences and ideas.

What do you do when writing gets tough? 

I spent five years revising my first novel, and I learned from that experience to be patient and have faith in the writing process. Sometimes the best thing you can do for a piece of fiction is leave it alone. Go outside, or clean the house, or play the piano. Let your thoughts wander, and when you come back to your writing, the solution might be waiting right there for you on the page.

8 Questions with Nickolas Butler: Cirenaica Writer-in-Residence

By Emilia Hurst

I sat down with hometown hero and international bestselling novelist Nickolas Butler to chat about his writing as well as his past summers at CVWG’s Cirenaica writer’s retreat.  Here’s what he had to say.

Emilia:  What are some of your favorite memories from Cirenaica?

Nickolas Butler:  Honestly, what springs to mind are the mornings at Cirenaica.  Typically, I'll leave my house and drive over to Cirenaica about eight in the morning.  And even before we begin our first workshop of the day, all the attendees are generally working away quietly, or bouncing ideas off one another.  You can see that it is a very productive time and space; I always expect to find a few of the attendees either sleeping-in or hungover, but that's never happened.  Everyone really utilizes their time.

What have you learned about writing from teaching at Cirenaica?

Just that everyone has a different path, a different vision for what they want to do with their writing.  People are coming from different starting points in terms of how much they've read, how much they've workshopped in the past, how much they've worked on their own craft, what they want for their careers...  It's good for me to be reminded that we all come to Cirenaica because we love writing, and hopefully books.

How would you say writers can look forward to growing in their craft at this retreat?

It can be really difficult to find unbiased readers of your work—folks who will give you honest feedback.  To me, it's rewarding to watch attendees become friends, fans, or at the very least, supporters of one another's work.  And I'm part of that, too.  I'm really honest with attendees; I write every attendee a personalized letter, every attendee gets individual feedback from me, and I read every story over multiple times.  Our workshops are positive, safe places for criticism - we're trying to make the work better.  And sometimes, it's reading another person's work, or witnessing their workshop that really brings into focus some aspect of your own work.

What's something you'd like to tell us about your own writing?

That's a huge open-ended question...I don't know.  I've published three books, my fourth will be published in early 2019...I'm a full-time writer who feels like the luckiest guy on the face of the planet.  I'm just going to keep doing what I'm doing as long as I can and hopefully I can get better at it along the way.

What are some more specific things writers can look forward to at this retreat?

Great food, great camaraderie, a cool rural setting, nice people, a restorative blend of work and relaxation, good conversations, cold beer…

What are some things you've been reading and enjoying lately?

I'm really into the Austrian writer, Robert Seethaler.  Check out his books, A Whole Life and The Tobacconist.  

How would you describe your writing process?

I have none.  I write when I can, when I'm inspired, when I'm afraid I'll forget something...  Sometimes I write at the kitchen table, sometimes in my bed, sometimes in a cafe...  Some folks need a routine or a process.  I'm not one of those people.  I'll take 8 months away from writing to just read books or think or work in my garden, and I don't feel guilty about that.  

What is one of your favorite places/settings to write in?

One of my favorite places to write is the L.E. Phillips Public Library in Eau Claire.  My kitchen table has also been a pretty productive spot.

Don’t miss out on the chance to work side by side with this accomplished writer at “Building a Solid Base: Getting Your Fiction Off On The Right Foot,” which runs from July 19-22 at Cirenaica.

See you there!

The Rundown: Meet This Summer’s Writers-in-Residence

by BJ Hollars

A successful writers’ retreat generally boils down to two factors: the generosity and enthusiasm of the writer-in-residence, as well as the generosity and enthusiasm of the participants themselves.  And so, when trying to find the perfect mix of people to place together in the woods for three days, we at the Guild are often left trying to use one’s words as an entry point into one’s intentions.  Does the writer-in-residence seem fully committed to the participants and their creative work?  And on the other end, do the participants seem excited to grow alongside the writer-in-residence?  We can never know for sure, though the applications go a long way in helping us determine how to best create the supportive community we so deeply value.  

➤ Learn more about our Cirenaica Writers Retreats

My main job is to work hard to provide the best summer programs possible.  Which means I spend a lot of time getting to know our prospective writers-in-residence.  And this year, let me tell you, we’ve got quite a line-up, indeed. Read on for the stories you didn’t know about this year’s writers!

Holly Hughes: Queen of the Birds (And Mindfulness, Too!)

Let’s begin with Holly Hughes.  Holly and I first met, quite by chance, when we were thrust together for a joint reading on extinct birds at Magers & Quinn Bookstore in Minneapolis in the fall of 2017.  We’d never met one another, but at the bookstore’s prompting, we were glad to share the mic.  Holly and I had barely shaken hands before I knew she’d be a perfect fit for Cirenaica.  She exuded kindness, and as she shared her work, I sat quietly in the front row imagining just how much Cirenaica participants could benefit by her expertise both as a poet and a mindfulness expert.  Since our initial meeting, Holly and I have continued to keep in touch.  The writers-who-write-about-extinct-birds club is unsurprisingly small, and every time I think I catch a flicker of a Passenger Pigeon out of the corner of my eye, I always make sure to drop her a note.  Check out her retreat, “Words To Hold A Glittering World: Crossing Genres Mindfully” which runs from June 21-24.

Karla Huston: Wisconsin’s Bard

Next up, Wisconsin poet laureate Karla Huston.  So many kind things can be said about Karla that it’s hard to know where to begin.  But I suppose the story that touched me most involves meeting her last fall, when she took the time to hear me read as part of the Fox Cities Book Festival.  Given her many poet laureate duties, I imagine Karla’s time is a little tight.  Yet the fact that she was able to spare a bit of it to hear me was quite humbling, and further reaffirmed her kind and generous nature.  Over the past two years, Karla has toured the state promoting poetry.  And how lucky are we to share three days with her this summer.  Check out her retreat, “Speak, Write, Memory: On Writing Poetry By Searching Within” which runs from June 28-July 1.

Michael Martone: Modern Day Magellan (At Least Compared To Me)

And now, onto my mentor and friend, Michael Martone.  Michael, like me, hails from Fort Wayne, Indiana.  When I stumbled upon this fact as an undergraduate while reading one of his contributor’s notes, I immediately dropped him an email.  “There are two writers from Fort Wayne!” I said excitedly.  Of course, there are many more than just two.  Soon after familiarizing myself with Michael’s work, I begged my college to bring him to campus, and they obliged.  The one catch: I had to pick Michael up from the airport.  When the big day arrived, I picked both Michael and his son, Sam, up from the Davenport Airport and prepared to drive them back to Galesburg, Illinois.  The problem, though, was that I soon became utterly lost.  Utterly, utterly lost.  As the miles dragged on in the wrong direction, I found myself incapable of admitting defeat.  How far would I have driven, I now wonder?  Would I have driven us to California had Michael not intervened?  Thankfully, Michael intervened, and as politely as possible, suggested that I might consider turning around.  It was good advice.  And while I thoroughly enjoyed all that time together, what I enjoyed most was how charmed he seemed by the entire ordeal.  Or at least not utterly put out by my ineptitude.  Two years later, we studied together at the University of Alabama.  And a few years after that he served as my thesis advisor for my first book.  These days, when faced with a dilemma in the classroom, I often ask myself: “What would Michael Martone do?”  And then, I proceed just as he might.  Apply for his retreat, “From Start to Finish: On Beginnings, Endings, and All the Words In Between” which runs from July 12-15.

Nick Butler: Hometown Hero / International Star

Of course, international bestseller (and hometown favorite!) Nick Butler needs no introduction.  This is his third summer at Cirenaica, and each session with Nick just gets better and better.  Nick’s writing chops hardly need any endorsement from me.  (Though if you want my endorsement, here it is!).  But beyond his writing, he’s also about the kindest, most supportive guy you’ll ever meet.  In summer’s past, I’ve loved watching him meet individually with participants on the back deck, talking folks through their stories.  At the conclusion of each conference, participants always leave with a smile.  Nick always finds a way to help writers find their footing, and he plans to do so again this summer!  Click here to apply for “Building a Solid Base: Getting Your Fiction Off On The Right Foot” which runs from July 19-22.

Lindsay Starck: Writer/Teacher Extraordinaire

Last but not least, meet Lindsay Starck!  A professor at Augsburg University and the author of Noah’s Wife, Lindsay came highly recommended to us by way of Barstow & Grand editor, Eric Rasmussen, who has the pleasure of studying with her in Augsburg’s MFA program.  Last week the three of us enjoyed tacos together at a writers’ conference in Tampa.  What a joy it was!  Lindsay’s welcoming personality and writing talents make her a perfect fit for Cirenaica.  She, like the others noted above, is generous and enthusiastic.  Frankly, the summer can’t come soon enough.  Click here to apply for “Thickening the Plot: On Creating Tension and Suspense in Fiction” which will run from August 2-5.
 

In an effort not to bend your ear (or your eyes) too terribly, allow me to simply say that these writers are ready and waiting to work with you.  And did I mention that each session has a special guest as well (Max Garland, Jon Loomis, Peter Geye, Eric Rasmussen, and others)?  

In closing, there’s always a reason NOT to apply for a writers’ retreat.  And it’s easy to say, “Maybe I’ll try next year.” I’ll encourage you not to wait.  Your art deserves your attention, and we’re here to support your art as best we can.

So what are you waiting for?  Apply today!  Tell your friends!  We’ll save you a seat around the campfire.

Let Nothing Stand in Your Way: Fiercely Guard Your Writing Time!

by Jan Carroll

Do you put time for writing on your calendar, like you would plans for a romantic evening out (with a heart drawn around it), an appointment with your doctor (underlined twice), or regular time with your best friend (circled and then made into a sun or a flower)? Maybe for you, writing time is so established, so habitual, so ingrained in your schedule that you don’t need to write it down or enter it into your phone—you know when it will happen, like you know what hours you have to be at work, what time to start getting the kids ready for bed, and which night to drag the trash can to the curb. If so, good for you! But that’s not true for all of us.

First Give Yourself Permission

For years, I really wanted to write, but it took a long time to realize that first I had to give myself permission. That among all those other voices, all those other really important things to do—work for money, recover from work, prepare to work again, spend time with loved ones, exercise, mow the lawn, take the car in for a checkup, get my teeth cleaned, do the dishes, scrub the floor, help a friend, do my part to make the world a better place, take the dog out—writing too is important! And for writers—for me—it needs to be a priority. Writing can be seem to be held as less important than so many other things in our culture. But it is important—for what the creative process does in and through us, as well as for whatever potential “product” it yields. For me, writing is like getting enough vitamin D, mentally, emotionally, spiritually. I just feel better, more whole, more me. Writers need to write, and we need writers to write.

Then Make It a Date

Once you’ve given yourself permission and have assigned writing a prominent position in your life (and in your schedule), fiercely guard the time you make for it. Rest assured, hordes of reasons to put writing aside will sweep in to distract you. If you think of your writing time the same way you would a romantic date or a great conversation with a good friend, you’ll be less inclined to put it on the back burner if some other enticing or guilt-inducing possibility presents itself. Poet Mary Oliver, in A Poetry Handbook, explains why maintaining this focus is so crucial. 

If Romeo and Juliet had made appointments to meet, in the moonlight-swept orchard, in all the peril and sweetness of conspiracy, and then more often than not failed to meet—one or the other lagging, afraid, or busy elsewhere—there would have been no romance, no passion, none of the drama for which we remember and celebrate them. Writing … is not so different.

Sure, sometimes you might not be as excited about going to dinner with your sweetie. And true, not every talk with that friend is scintillating. But showing up and being there for that person, and that person reciprocating, over time yields a beautiful relationship. But you have to make the date and show up—on time! If you are consistently there for your writing, it will be there for you. Stephen King, in On Writing, says:

Your job is to make sure the muse knows where you're going to be every day from nine 'til noon or seven 'til three. If he does know, I assure you that sooner or later he'll start showing up.

If you find you’re not really that into your writing times, maybe you’re not really that into writing, and you should consider watercolor, piano, community theater, hiking, or chess. But before you throw the baby out with the bath water, first give your writing time some of your best attention, the benefit of the doubt, and approach it with a sense of expectation. Give the relationship a fair chance.

But Maintain Consistent Focus

Why all the fuss? Can’t you just write when you feel like it? When you have a few minutes? Yes, impromptu, spontaneous times to write can be wonderful too. But there’s something about writing at a set time, a regular time, that yields the benefit of continuity of thought. Even if you have to eventually pack up, head home, and get ready for work, if you’ve set the intention to return to the work at the same time tomorrow, or whenever you’ve planned to, it tends to keep your head in the game. Instead of the first twenty minutes of each now-and-then session being you trying to reorient yourself to writing in general and to the mindset of the particular piece you’re working on, you can more easily jump right back in. You don’t have to spend time catching up with your old friend. You can venture right into new territory.

Steven Pressfield, in The War of Art, concurs, describing how purposefully dedicating time for the writing to occur is key to the writing actually happening:

When we sit down each day [or in regularly scheduled sessions] and do our work, power concentrates around us. When we sit down and work, we become like a magnetized rod that attracts iron filings. Ideas come. Insights accrete.

How quickly that magnetic hold can be lost, though. If too often I exchange a writing session for some other fun and possibly quite worthwhile activity, the “iron filings” scatter, and it takes time and work to restore that magnetism. Of course, if the dog is throwing up, a child is bleeding, you get called into work, or fire or flood threaten, do your due diligence. Your muse will understand. 

And Declare and “Wear” This Commitment

Zadie Smith, in her “Ten Rules of Writing,” says, “Protect the time and space in which you write. Keep everybody away from it, even the people who are most important to you.”

Decide when and where you will write. Discuss this with loved ones who share your space and time. Then when other opportunities come up, be prepared to say, “Oh, I can’t. I have another commitment,” or “Can’t. That’s my writing time, and that’s sacred,” and follow through. Over time, most people will get used to this; they’ll respect the time you set aside to write, if you do—so honor it.

Where you write has a lot to do with being true to it. Planning to write at a busy café during busy hours means you’ll probably run into someone you know, and even brief chats eat up precious time and defer concentration. Write away from Internet connection. You can research later, or beforehand. Turn off the phone. Have a bag prepared with all your writing paraphernalia or a space cleared at home dedicated to authorial pursuit. The dining room table, unless you live alone, is not the best spot. Having to clear it off every time, unless absolutely necessary, is not ideal.

Yet, Be Aware of and Open to Spontaneity

While regular, scheduled writing times do the heavy lifting, at times you will experience surprise insight, sudden bright ideas, and great lines coming to you at the least convenient times—in the shower, just as you’re falling asleep, or driving in hectic traffic. That’s ok! In fact, these lightbulbs suddenly glowing above your head or metaphoric faucets turning on can be a wonderful residual result of your regularly scheduled (and kept) sessions. I have often had to slog through a tough writing time when nothing much was coming to me, not much was working, or way more pondering was occurring than composing only to pack up, head home, and then BAM—everything seems to cohere, and choice words flow freely. Good idea to have a pen and paper or recording app readily available.

So, Fiercely Guard This!

If you haven’t yet, first work through giving yourself permission to write—and do! Then, passionately make it a priority—a date, resolutely stay focused and attentive, own this commitment as a valid and vibrant part of who you are, and guard your writing time stubbornly, while anticipating unpredictable, schedule-averse but fruitful deluges. 

Oh—and Have Fun!

Having Trouble Writing? Write Faster

by Katie Venit

Ah, writing. That’s what we’re all here for, right? Connecting with readers through telepathic magic, transmitting our thoughts to someone else...it’s a powerful experience. But first you have to fill that blank page, and sometimes that really sucks. You have an idea, a word, a character in mind… but then what happens? What if it’s just slop? What if the ideas vanish before they can be fixed on the page? These doubts can really get in the way of productivity. 

One of my favorite writing adages is that rough drafts are perfect just for having been finished. You should have doubts about your rough draft--but not until after it’s done. Somehow you have to ignore the doubts to complete the perfectly imperfect first draft. 

Enter fast writing. 

With your writing group, take a minute to reflect on your intentions. Set a timer for 30-40 minutes. Everyone writes as fast as they can, with absolutely no edits, no pausing, no doubts. Don’t correct your grammar or spelling. The backspace key does not exist. Your goal is to get as a high a word count as possible. 

After the timer dings, each person reads aloud. Listeners take turns sharing something that they liked about the draft. Constructive criticism is verboten; after all, it hasn’t been revised yet. 

If I have a good idea of what I want to write (or if I’ve had half a beer), I can write almost 900 words in 30 minutes. One of my groupmates consistently tops 1,000. I may only get about 400 words if I don’t really know where I’m going (or if I’ve had the entire beer). Either way, that’s several hundred more words than I had only a half hour earlier, and I can push forward from there in revisions.  

Variations

• In person, this works best with groups of 2-4 people. If you have a larger group, split into pairs or triads.
• In addition to giving positive feedback, talk about directions the piece could go in, bring up questions about the piece, or answer any concerns the writer herself brings up. Still, no negative constructive criticism. Just positive energy.
• Everyone can respond to the same prompt, choose one of several prompts, or continue whatever they’re already working on. My favorite sessions are when I finally pin down an idea that’s been knocking about loose in my head for several weeks. What a relief!
• Writing longhand on paper is the ultimate way to avoid editing. You probably can’t write as many words per minute, but there’s no backspace key. I also find that I can think more creatively when I write longhand. 

Distance variations

• Call up a friend and say, “go!” Both of you write for 30 minutes. When time is up, call her back and read your pieces to each other. This works best with two people, unless you’re better at conference calling than I am. 
• For an online community, set a prearranged time for everyone to start writing into wikis, a private blog, or google docs. When time is up, share the documents electronically and leave feedback for each one. Remember, no one has edited their documents; positive feedback only. 

When the Pen Won’t Work, Try the Axe: On Chopping Writers Block Out of Your Life

by Ron Davis

A coffee cup holding pens, pencils, a Daisy Duck Pez dispenser and, for some reason, a size 9 blue Rapala sits on my desk. Boldly lettered in dollar bill green on the cup’s side is the phrase, “Will Write For Food.” As a motorcycle magazine columnist, feature writer and reviewer, I do that. But as any writer trying to turn words into bank deposits knows, writing for food often means butting up against the most creativity-crushing, soul-sucking, motivation-murdering impediment to writing anything you’ll ever be happy with: deadlines. Deadlines force compromises; you may never find that certain word, that certain slant you know is out there. Worse, deadlines may also lead to dead ends. A stalled vehicle on the side of the road, at night, in the rain, with no cell phone bars—not just writer’s block—writer’s paralysis. In the words of Old Lodge Skins in Little Big Man, “Sometimes the magic works. Sometimes, it doesn’t.”

What do I do then? I stop writing. But just walking away to scarf a sleeve of Caramel deLites  Girl Scout cookies or watch one more season of Homeland doesn’t work. I head out to the wood pile.

Splitting and stacking wood works, sometimes. Barring no wood pile, I try mowing the lawn. As long I don’t have to worry about garden hoses, rocks and the neighbor children, it’s a meditative state, the sound of my aged mower even sounding like a mantra…Ommmmmm, cough cough, ommmmmm... Walking the dog can be good, too, though there is a certain level of distracting focus and dexterity involved in daintily bagging dog poop. Driving? I don’t think so—too much imminent danger uses too much brain. Riding a bike? Maybe, but motorcycling, definitely not. Huddled over a luke warm cup of coffee while gazing vacantly out the Acoustic Café window has never beckoned the muse for me. And drinking Scotch just makes me want to, well, drink more Scotch. 

Shoveling snow, now there’s something to try when nature cooperates, but snow blowers, no. Painting has its merits, but isn’t a half-done wall just another deadline? Cleaning the garage, washing the car, all pretty good, as long as I don’t get too fussy. Reading, I would not recommend—too demoralizing to know some smug writer has actually hit his or her deadline.

For me, to break a stalemate with the keyboard, an activity has to walk that wobbling tightrope between having just enough self-absorption to counter the heebie-jeebies of the approaching deadline, while leaving enough room for my “inner writer” to work. As Michael Perry aptly wrote in Coop, “While the bones and meat wrassle, the mind is free to sort and ponder.” 

So, my coffee cup taunts me. Another looming deadline with not so much as a first paragraph, and it’s once more into the backyard where the wood pile awaits. It’s a frosty morning, and breaking the silence, a lone cardinal chimes from the highest branches of a barren ash. It’s working, the oak splits cleanly, and with it the Gordian Knot of another writer’s block. If you’d like to try it, I have about five cords. Bring your own maul.

Our Organization Is Now A Two-Year-Old

ABOVE: Launching the Chippewa Valley Writer's Guild, February 2016 

by CVWG Director B.J. Hollars

On a Thursday night in February of 2016, I arrived at the Volume One Gallery half an hour early in anticipation for our first ever craft talk.  Titled, “Jump Off the Cliff and Build Your Wings On The Way Down” (an homage to my literary hero, Ray Bradbury), I’d prepared to talk about how our fledgling organization might grow for the good of the community.  But the truth was, I had no earthly idea how it might grow.  What might we be?  I wondered.  And how might we do the most good?

Two years later, we’ve found our footing.  Not only do we work hard to provide an array of high-impact educational opportunities for residents of the Chippewa Valley, but we also strive to provide support beyond our craft talks, writers retreats, and other regular events.  What does that support look like?  It comes in many forms.  Maybe we’re partnering with other local organizations to expand our shared missions, or maybe we’re providing an outlet for your work by way of Barstow & Grand or our newsletter.  The point is: we’re here for you, and we’ll continue to be here for you.

And already, our work is receiving notice.  In February, the Guild received more recognition than we could have hoped for.  For starters, on February 27 the Chippewa Valley Writers Guild received a proclamation from the City of Eau Claire in recognition for our commitment to the literary arts.  “Eau Claire values all the writers who live and work among us because they open our minds to what is familiar and challenge us to understand what is different,” said City Council President Kerry Kincaid.  “I am pleased to help elevate the craft to its rightful place among the arts.” And we’re pleased to accept such an honor.  

In addition, on February 9, I was extremely humbled to receive a Vanguard Award on behalf of the Guild’s work.  Once more, to be abundantly clear: this is your award.  Admittedly, my mug (rather embarrassingly) takes up all the air time on the recipient video (who says writing doesn’t make for good film?), but that doesn’t make this award any less yours.  For me, it’s a testament to the power of our literary community, and it’s a reminder, too, that people are paying attention.  

Now that our organization is a two-year-old, I fully except a lot of crying and temper tantrums in the days ahead.  (I imagine I’ll be the one doing both).  But on a more serious note, we’re at a point where there’s still so much to look forward to.

On that note, I’m pleased to announce the formation of 6x6, a new reading series to be held right here in the Chippewa Valley.  What’s 6x6 mean?  It means each reading will feature 6 readers for 6 minutes each.  The catch: once you read in the series, you’ll never read in it again.  This isn’t meant to be exclusionary.  Quite the opposite!  We have so many talented writers in this region that we can fill the series again and again and feature new voices every single time.

In short, we’ve already put some great days behind us, but we’ve got plenty more great days ahead.  Let’s look forward to the good work (and good writing!) ahead of us.

Cirenaica Spotlight: An Interview With Writer-in-Residence Holly Hughes

by Emilia Hurst

This summer the Chippewa Valley Writers Guild will be hosting five amazing writers retreat.  Over the next few months, we’ll be featuring one retreat in each of our newsletters.  This month, we’re excited to share a few behind-the-scenes details on our first retreat, “Words to Hold a Glittering World: Crossing Genres Mindfully” featuring Seattle-based writer-in-residence Holly Hughes. This retreat will take place from June 21-24.  

I recently had a chance to catch up with Holly and ask a few questions about her personal writing philosophy, as well as what potential participants can look forward to this summer:

Emilia Hurst: What do you feel is a unique experience or aspect about these retreats?

Holly Hughes: First, I appreciate the philosophy that I believe underlies Cirenaica: that we’re gathering to learn from the natural world as well as from each other;  that we’ll be combining writing instruction with time spent writing; and that the focus is on building a community of writers during the time we have together.  Writing workshops and retreats can feel intimidating, especially if participants feel that they’re in competition with each other.  I like to create a supportive atmosphere in which we’re all there to encourage each other to become the best writers we each can be.  And as a former seafarer, I love that Cirenaica means “siren of the sea.”  In my experience, the sea has provided a rich reservoir of imagery for creative work—and I think that can be true for the natural world in general.   

What part of the retreat are you most excited for?

I’m excited about all of it!  But I must admit I’m looking forward to returning to the Midwest for a few weeks—I grew up in Winona, Minnesota—so it’s a chance for me to experience the landscape of my childhood again.  Walking is definitely an important part of my writing practice, so I look forward to walking in a different landscape.   I’m also looking forward to experimenting with writing in different genres—and helping participants discover how crossing genres can feel freeing. 

What kinds of people would enjoy and benefit from this retreat?

I hope that my workshop will appeal to anyone who’s interested in words and place and how the two interact with and inform each other.  I also hope it’ll appeal to writers of both prose and poetry who share a willingness to write outside their comfort zone.  Finally, I think it will appeal to anyone who wants to experience a supportive writing community, where the focus is on exploring the craft of writing, though I will address questions about publication briefly, too.  

How would you say your latest poetry collection Passings is different from your previous publications?

Passings is unique in that it’s a chapbook focused on a specific subject:  extinct birds, an interest/passion  I share with BJ Hollars.  It’s also unique in that it’s a fine-art limited edition letterpress book—only 375 copies were printed. Like the birds, when they’re gone, they’re gone.  I hope it will raise awareness not only of the bird species we’ve lost, but those we’re in danger of losing as birds’ habitats and ranges are affected by changing weather patterns.  And finally, I included a short prose essay as a Preface to establish a context for the poems, so it’s an example of a cross-genre book.  

What can people expect to take away from this retreat?

Through the time-honored tradition of walking as a means of inspiration,   students can expect to take away a variety of strategies for connecting with both their inner and outer landscapes.  More specifically, they’ll also learn a few hybrid forms, such as the Japanese haibun, and do some collaborative writing, by working on a renga together.  I hope everyone will come to the workshop with an open, receptive mind—what the Buddhists call “beginner’s mind” -- and a willingness to try out new forms, all in an effort to hold the elusive beauty of our glittering world. 

What more could you ask for? Click here to apply today for this wonderful opportunity! 

February 27: Chippewa Valley Writers Guild to Receive Proclamation from the Eau Claire City Council

On Tuesday, February 27 at 4:00p.m. the Chippewa Valley Writers Guild will receive a proclamation from the City of Eau Claire in recognition for the Guild’s commitment to the literary arts.  “Eau Claire values all the writers who live and work among us because they open our minds to what is familiar and challenge us to understand what is different,” said Council President Kerry Kincaid.  “I am pleased to help elevate the craft to its rightful place among the arts.”

Since its founding in February of 2016, the Chippewa Valley Writers Guild has worked hard to provide an array of high-impact educational opportunities for residents of the Chippewa Valley and beyond.  By way of writers’ retreats, craft talks, a robust newsletter, and other events, the Guild has continued to showcase the vibrancy of our region’s literary community.

“It’s an honor to receive formal recognition from the City of Eau Claire,” said Guild executive director B.J. Hollars.  “This region’s support for the arts is well-known, and by working closely with city officials, I’m certain the arts can continue its upward trajectory.”

Planners vs. Pantsers: Which Are You?

By Katie Venit

Rumor has it there are two types of writers: planners and pantsers. Planners outline the heck out of a piece. They know every scene, plot twist, and character’s favorite color, all before firing up the word processor. Pantsers (those who fly by the seat of their pants) don’t do any of that. They wait until the muse moves them, then they simply record what it says. They let the characters decide their own fates and are excited to write because they want to find out what happens. 

The reality is that most of us are planner/panster hybrids, and could benefit from some casual prewriting planning. Drawing graphic organizers like mind maps can generate ideas or explore unconscious connections between topics.

Start by writing a word or phrase in the middle of a piece of paper. Let’s say, “apples.” Branching from that like legs on a spider, connect “apples” to whatever associations that word brings to mind: tree, pie, fall, apple of my eye, Lowly Worm, Apple Dumpling Gang, comfort food, crisp, sweet, Gramma.

If one of your associations seems especially rich, such as “tree,” branch associations off of that: shoe trees, climbing trees, wood, carpentry, family trees, tree of life, Adam and Eve… whoa. Adam and Eve branched off of “tree,” but it also connects to “apples.” Draw a line from “Adam and Eve” back to “apples,” connecting the two. That might be an interesting theme. “Family tree” is another area that seems intriguing. How can you connect “family tree” with “apples”?  Could “Gramma” be the connection? 

Does a particular area of the map calls to you? If so, that might be a rich direction for your story. 

You can do this on your own, but it’s really fun with your writing group. Set a timer for 10 minutes and quickly map words without second guessing your choices. When everyone finishes, take the group through your map, explaining the associations and what parts intrigue you the most. 

Variations

Everyone creates a map on the same topic. Compare and contrast. This is a great team building activity that offers a window into how your groupmates think. 

Related to the above, consider having everyone draw mind maps for one of your member’s specific projects. These maps can provide inspiration when it comes time to write.

Everyone draws maps using different word prompts then share. What areas are most intriguing? Despite being drawn from different words, do the maps inform each other somehow? 

If everyone maps different topics, trade maps and spend another few minutes adding to someone else’s map.

Work simultaneously on the same map. You might not need a timer for this variation; just work until it’s finished. 

After finishing the maps, spend 30 minutes writing drafts based on the maps (trade maps or have everyone work on their own). Maybe the challenge is to write an entire piece or maybe it’s just the first paragraph. 

Distance variation: The internet has a plethora of free mind mapping tools out there. Create one, and email it to a partner. 

5 Reasons You Shouldn’t Be A Writer (and the One Reason Why You Should)

by BJ Hollars

A few weeks back I was asked to join a panel of writers at GeekCon, a wonderfully successful event held on the University of Wisconsin-Eau Claire campus.  The event featured all kinds of creatives: sculptures, comic book artists, Lego builders, game players, role players, among others.  In preparing for the panel, I tried brainstorming a list of reasons why people should be writers.  About ten minutes into my brainstorm, mostly all I’d come up with were reasons why maybe we shouldn’t.  My list reads as follows:

Reasons Not to Be A Writer:

1. Most of us will never find our books at Barnes & Noble (translation: fame is rare).

2. Most of us will never make a living doing it (translation: riches are rare).

3. Most of us will never receive the recognition we think we deserve (translation: even the people who love us will likely give us little more than a skim and a “like” on social media).

4. Most of us will feel personally unrewarded for our efforts (translation: it’ll never feel good enough).

5. Most of us can barely even fess up to being called writers.  

(This last one might be related to my own personal neurosis.  When people ask me if I’m a “writer” I generally say “I write”—opting for the verb, instead.)

As I chewed on the eraser of my pencil, trying to figure out what bit of optimism I might bring to the panel, I was at last reminded of the main reason why I write.  Because for me, writing is the most direct and democratic mechanism to connect with the human heart.  For the price of a pencil and a notebook you can bypass geography and social circles and tax brackets and potentially make a difference in another person’s life.  Through your work, you might be able to offer the precise words that someone else desperately needs to hear.

On a few rare occasions in my life, I’ve been the recipient of such kindnesses.  Once, while at a conference, a stranger ran up to me with a literary magazine I’d published in, and she asked me to autograph it.  “I read this essay probably once a week,” she said—blowing my mind.  And then, in an effort to blow it further, added: “I’m a farmer, and I like to read it on the tractor.”

I lifted a skeptical eyebrow.  Not only had this person enjoyed the words I’d written enough to read them more than once, but she’d enjoyed them so much that she read them while farming!  Not in a million years could I have predicted that my humble piece might have touched a stranger so deeply.  But in this instance, it had.

And that, of course, is true for all of us.  We all possess words and stories that have the power to connect with the human heart.  And while it’s easy to get bogged down with all the reasons why we ought not to write, focus instead on the one reason why you should.  We do it to connect.  We do it because it feels good to be heard.   And sometimes, in doing so, we remember that sometimes our words matter to others, too.    

Sci-fi Sister Act: An Interview with Caroline Akervik and Ruth Rankin

Recently, I got a chance to converse with Caroline Akervik and Ruth Rankin – sisters and co-authors of a new YA sci-fi book called Halcyon. Check it out ...

BJ Hollars: Tell us a bit about Halcyon. What's the book about and how did it come to be?

Caroline Akervik and Ruth Rankin: Halcyon is a Young Adult Science Fiction novel about a teenaged girl who discovers that things are way more complicated than they seem at her new school.  

It’s hard enough to always be the new girl at school for Hailey Schick. She’s managed to irritate the ruling clique at the school and Trevor, the boy she sort of likes, is total social outcast. Nothing is as it seems at University. Preston and Chelsea rule the school with an iron fist and are obsessed with stomping out all nonconformity. There is more going on here than the usual cutthroat high school games. Eternally young sentinels from the parallel universe of Halcyon have infiltrated their school and plan to use it as a launching pad for a planned takeover of Earth. Hailey and Trevor may be all that stands between Earth and a takeover by the militaristic Juventus.  Halcyon blends elements of the Gossip Girl with The Hunger Games. 

The novel developed from conversations that Ruth and I had while waiting for my kids to finish swim lessons more than ten years ago. It took us a very long time to understand the story, the characters, and the problem that they face. 

BJH: Can you tell us a bit about your collaboration.  How did you two meet?  How did you decide to write together?

CA & RR: We are sisters. We’ve always talked about and discussed books that we have both read, or wanted to read. So it was a natural next step to try and write something together. We also both like to read the same genres, so we just kind of brainstormed what types of novels we would like to read as avid young adult fans. There is a really special energy about YA literature that drew us to the genre. We started with the question of “What if…” That question led us down the rabbit hole to Halcyon, a world where a sinister order of the eternally and unnaturally young rule.

BJH: What was that writing process like?  What are the upsides to collaboration?  The downsides?

CA & RR: We live in different states, California and Wisconsin, respectively, so it takes some imagination and lots of shared docs to write together. Collaboration requires some creativity. We discuss ideas and possible story developments over the phone. Brainstorming with another person who knows the characters and the story arc well is very powerful, but you do have to work your way through arguments/discussions when our visions or ideas diverge. And if that fails, there is always rock, paper, scissors. 

BJH: What advice do you have for folks working in the young adult genre?

CA & RR: Both of us read a lot of YA lit. Our advice to those interested in writing in the genre is to not write “down” to young readers, rather to assume that they are a discerning and demanding readers. However, there are some real distinctions to YA lit. YA books tend to be less wordy and get to the action faster. YA readers are less patient with authors. The best way to write in a genre is to actually read the genre. You get a sense of what the readers expect, and it can shape how your narrative comes together. 

BJH: What else would you like to share about the book?  Any lessons learned along the way?

CA & RR: We are debating the idea of writing a sequel to this novel. Earth may not be safe from the Juventus, so we may need to see what Hailey and Trevor are up to next. As far as lessons go, we’re not entirely sure how we ended up writing a Young Adult Science Fiction novel. As you grow in understanding your characters, they choose their own path, and, as the author, you have to make it work within the framework of the novel. When you’ve finished writing something, and you reread it, you have to come away from the experience knowing that you have written honestly and from the heart, no matter what the genre. 

In the Chair or at the Mic: How Writers Help Writers (a Special Note From Guild Director BJ Hollars)

CVWG Director BJ Hollars, shown here at a Cirenaica Writers Retreat

If there’s one thing I’ve learned over the past few years, it’s that there’s no shortage of writers in our region.  We are blessed with many people who write many words.  So many people, in fact, that’s it’s difficult to find a platform for everyone.  But that doesn’t mean we shouldn’t try.

Here at the Guild it’s our mission to support all writers—from beginners to professionals.  While many of our craft talks and retreats are hosted by seasoned writers with quite a few accomplishments under their belts, there’s always room for others.  This is especially true at open reads, where we strongly encourage newcomers to take their turn at the mic.

In that spirit, over the past few weeks we’ve hosted several events that do just that: most notably, “Of Verse and Valor: Poetry and Prose on the American War Experience” and “Writers Read at The Oxbow.”  Both of these events featured a range of talented writers, some of whom were sharing their work for the first time.  In addition, thanks to a grant from the Mahmoud S. Taman Foundation, on December 14 we hosted a panel discussion titled, “This We Believe: On the Transformative Power of Words.”  Our panelists came from a variety of religious and scholarly backgrounds and lent their knowledge to a riveted crowd. 

Next week we’ll be hosting our last event of the year,  and it’s our job to support our readers and storytellers.  Whether you’re in the chair or at the mic, we writers are best served when we serve one another.  And sometimes the best way to do so is simply by being present.  Even if you rarely attend our events, I’ll urge you to attend  "Joy to the Word: A Holiday-Themed Evening of Songs and Stories" on December 23 at 6:30PM at The Local Store,  In addition to amazing holiday-themed stories by Sarah Jayne Johnson, John Hildebrand, Kobi Shaw and Allyson Loomis, we'll also have live holiday tunes courtesy ofThe Ukulele Klub.  Enjoy some music, some stories, and what—at least for me—is one of the most memorable nights of the year.

How else can you support the writers of this region?  I’m glad you asked!  Simply click here and snag the inaugural issue of Barstow & Grand.  Credit cards are now accepted.  It’s the gift that gives each time you turn a page.

Now admittedly, that’s a lot of giving, and we want to give you something, too!  To that end, on January 27-28 we’ll be hosting our second annual Winter Writers’ Weekend at The Oxbow.  Featuring an array of writers-in-residence (Melissa Range, Max Garland, Nick Gulig, Austin Segrest, and other guests), the weekend is sure to be a hit.  If you reserve your spot before Christmas, you’re receive a special early bird rate.  But don’t wait that long!  We’re filling up fast!  Click here to reserve your spot today.

From our family to yours, we wish you a wonderful holiday season full of love, fellowship, and words.

Be inspired.  Inspire others.

– BJ Hollars

Recap of Katie Vagnino’s “Pitch Perfect: Navigating the world of Freelance”

Katie Vagnino

By Alex Zitzner

On October 12th, University of Wisconsin-Eau Claire professor and writer Katie Vagnino shared her tips about the world of freelance writing. If you missed her talk, here is a recap of the points we thought would help the most. If you are interested in hearing this talk in its entirety, at the end of this article there is a link to her next presentation.

Getting Started

Find someone to share your ideas with.

One of the best ways to jumpstart your creative process with getting into the world of freelancing is finding someone who can work with you to make your writing better. It is better to have a second set of eyes bringing their experience to the table, this way your work will be twice as knowledgeable when figuring out what and where to pitch. 

Write down ideas for potential pitches.

I’m sure we’ve all been in this situation before where a great idea comes to us, but we are without a way to write it down or are too lazy and let it go. Make a habit out of writing down potential ideas and cataloging them. When you find a place you’d like to be published, you may already have a pitch that will fit their tone and themes. *Pro-Tip: Most smartphones have a note taking app where you can store these gems, otherwise consider never being without a pen or pencil.

Read far and wide to expand your perspectives.

In relation to the first point, the best way to see what is out there is to do research. By doing this, you will grow your view and challenge your own previous notions while coming to understand what areas you can offer the most to.

I’ve Got An Idea For a Story, Now What?

Research what has already been said about your topic.

Touching on the previous importance of reading many different publications, editors are going to want pieces that are not cliche or on topics that have been thoroughly explored. Here is where the importance of the personal connection can come in handy by offering a unique perspective that has not been heard before. 

Keep the arc of the story in mind. 

You are going to want to roughly know how your story will begin, what will happen in the middle, and how it will end. Once you’ve done the research, consider how the points you’ve come across can be used to connect each part of the narrative and propel it toward the concluding statements.

Come up with a two sentence pitch.

Once you’ve figured out the arc of your story, come up with a way you can pitch your potential story in a short and sweet manner. Not all pieces need to be written before pitching them, so the “elevator pitch” method is a way of finding out whether or not there would be interest in having your work be published.

A Few Dos & Don’ts

Without too much summary, here are some ways to better your chances of either getting published or eventually getting published.

• Show you are familiar with a publisher’s content.
• Put your pitch in subject line of an email.
• Do not contact editors via social media unless they explicitly say it is ok to do so.
• If your pitch gets rejected, do not ask the editor, “Why?” 

Final Thoughts

Don’t take rejection personally.

There is a duality with acceptance and rejection in writing. Just because your piece was not taken by one place does not mean there isn’t a home for it somewhere. If the editors offer any feedback on why your piece was rejected, consider it and move forward, as it is all part of the process. 

Some of the best paid gigs are not glamourous.

It is fun to write about things you are interested in, but sometimes it is the uninteresting subjects that will pay the most. Keep your eye on the lookout for potential gigs, no matter how bland they may seem, because they could pay more than the big name publications like The New Yorker.

It is difficult to make a living solely off freelance.

Touching on the previous point, freelancing is a competitive and time consuming practice. If you are considering freelancing as a career, keep in mind how often you will have to be pitching articles and writing while balancing everything else. Consider using it as a way to get extra money on the side until you have become established.

If you would like to stay up to date with Katie and learn more about what she does, consider checking out her website.

5 Reasons To Sign Up for the Winter Writers' Weekend at The Oxbow Hotel

Karissa Zastrow

As a former participant of the Winter Writers' Weekend, let me just say there are plenty of reasons to sign up.  Here are my top five:

1. You’ll have the time to focus solely on your writing. I mean, how often do you have time set aside specifically to write without all the other chaos of life interrupting you?

2. There will be unique and fun writing prompts to get your creative juices flowing. Last year there were writing prompts based on board game questions, old photographs, and we even did some blackout poetry. 

3. At the retreat, you’ll meet other writers who want to improve their writing, and help you improve yours. You will work in small groups to workshop your writing and receive feedback.  

4. At the end of the night, you will have a chance to showcase the piece you worked on at the retreat. This is great experience for future readings. Plus, last year, we even had the Blugold Radio station record pieces to be played on the radio!

5. During the retreat, you get to stay at the beautiful Oxbow Hotel and eat delicious food at the Lakely. What more could you want?

Sign up today!

Giving Your Gift And Sustaining Our Community

Tis the season for gratitude, and we have much to be grateful for.  Most of all: you.  Thanks to your generosity, over the past two years the Guild has been able to provide robust, high-impact programming for writers and literary lovers throughout the region.  Our efforts have allowed us to host 12 summer retreats, a winter retreat, and a combined 6 more coming your way over the next few months!  That’s well over $33,000 in economic impact!

Barstow & Grand Release Party

In addition, we’ve hosted dozens of free craft talks, sent you hundreds of free, locally written articles, and partnered with a wide array of business and organizations, from the Eau Claire Regional Arts Center and the University of Wisconsin-Eau Claire Foundation to Blugold Radio, Volume One, JAMF Software, Visit Eau Claire, the Chippewa Valley Book Festival, and most recently, our hot-off-the-presses community literary magazine, Barstow & Grand.  Your support is what keeps this collaborative spirit alive.  It’s what allows writers throughout the region to come together in common cause for the benefit of our community.      

By contributing today, you ensure that this good work continues.  And you send a clear message of support to the hundreds (and perhaps thousands!) of writers throughout the region that you value the way words make meaningful contributions to our lives.

Interns hard at work!

•  By becoming a $5.00/month sustaining member, you allow us to pay our talented interns.
• By becoming a $10.00/month sustaining member, you ensure our craft talk series remains free.
• For $25.00/month, you support all of our programming endeavors, while also ensuring the affordability of our retreats and continued partnerships with organizations that share our mission.

By making your gift today, not only will you support our thriving literary community, but you’ll be entered to win a pair of Forage gift certificates (a $60.00 value!) as well as one of several autographed copies of recently published books by local writers of national prominence.  One lucky winner, too, will be eligible for a free writing consultation with a Barstow & Grand editor. 

Your donation can be made electronically here. Simply scroll down and select the “Chippewa Valley Writers Guild Monthly Sustaining Membership” campaign.

Be inspired.  Inspire others.  And thank you for inspiring us.

B.J. Hollars

Executive Director, Chippewa Valley Writers Guild

Brand New Literary Event To Celebrate Chippewa Valley Writers

By John Paluta

Get your creativity in gear, because Write Here, Write Now is just around the corner! On Saturday November 11th, Write Here, Write Now will takes place from 1:00 to 5:00 at the L.E. Phillips Memorial Library and from 5:30 to 7:00 at the Oxbow Hotel.

What is Write Here, Write Now? The event aims to celebrate writing and creativity through local writers and local writing opportunities. Many panels will be offered as well as readings, but the real attraction is going to be the attendees who are all interested and passionate about local writing. Every panel and reading brings something unique to the table, so make sure to check out each one! Every reader and writer will be able to take something away they learned from the panels.

See below for a brief preview of the panels:

• 1PM: “Meet the Chippewa Valley Local Authors”
• 2PM: “The ABC’s of Reading: A Practical Guide to the Art and Deadly Craft of the Literary Reading”
• 3PM: “Publishing Near and Far: A Conversation on Finding the Right “Fit” for Your Work
• 4PM: Writers Reception
• 5:30PM: Writers Read (@The Lakely)

This is the first year for Write Here, Write Now! What started as an idea based off the print collection at the library featuring local writing has turned into a bigger community conversation designed to highlight local talent. Various organizations helped to put the event together, such as the Chippewa Valley Writer’s Guild, Chippewa Valley Local Authors, the Eau Claire Writer-in-residence Max Garland, and others. The hope for this culmination of efforts is to foster a greater love and appreciation of local writing.

See you there!

Finding My Writing Home

McManus

By Jackie McManus

In 2010, I was going through something—a transition, maybe—to see what the next chapter held for me. As I was browsing the internet I came across a site that read, Hike Mt. St. Helen’s on Mother’s Day in honor of your mom and call her from the top. Wear a dress. Because I was struggling through my own personal mountain at the time, I thought: This. Sounds. Perfect. 

Along with 199 other people—that’s what the permits would allow on the mountain that day—I hiked with men and women, every one of us in dresses with hiking boots and crampons and pick axes. I made the hike on about two hours of sleep in my tent at the base of the mountain. But I hiked off that mountain seven hours later, better.

When I moved to Wisconsin last year to help my mother, who just turned 86, it was difficult for me to leave my beloved Northwest. Again I researched…and found Cirenaica. Cirenaica means “siren of the sea” so this time it wasn't land, but water.  This time it wasn’t hiking boots and a pick axe but pen and paper. And because there was no mention online of bug spray or deerflies, I told myself "I'm in."

In Montana and Washington where I've lived, I couldn’t touch the quality of this type of writing retreat. They were all beyond my teacher’s budget. But because Cirenaica wasn’t, and because I was drawn to the quality of the people facilitating the retreat, I get to carry with me some wonderful moments: of walking in the door early in the morning to nothing but hot coffee, a jar of candy, and people silently writing in their spaces. I once taught Kindergarten so silence is no small thing. There's no feeling like walking in that door because the air in the early morning is nearly tangible, thick but not empty, the feeling something is happening that you want to be a part of, that you are instantly grateful you are.

At Cirenaica (Image: Justin Patchin)

This July Max Garland took us on a hike to Big Falls on the Eau Claire River, a spot I had never seen. There we found baby caterpillars, one of whom we named Cirne, our retreat mascot. I offered to carry Cirne back to the lodge and I was okay sitting in the back seat of Max’s car until Cirne woke up and began crawling around the edges of her leaf. I thought oh no. What if I lose our mascot or worse, she gets squished and then Max will never speak to me again and he will go home and write a poem of lament and on and on… But then I remembered that I was riding in Max Garland’s car. At a writing retreat. I could do anything. Even safely see Cirne through his transition to a Monarch butterfly.

Back in the Northwest, I’d belonged to two writing groups. Additionally, I’d helped facilitate a community read at an art center and attended open mics. But no matter how we marketed these events, attendance always remained pretty disappointing. I have been nothing but surprised to discover a really large writing community in Chippewa Falls and Eau Claire and not just that, but that there is room for me in it. In the Northwest, it felt like the spaces were all filled, but here, for me, somehow there's room.

Cirenaica has in some way become my Mt. St. Helen's. I came for four days and left, better. I left with better strategies, better poetry, a better spirit.

Mapping Memories with Max (A Preview of Max Garland’s Upcoming Collection: The Word We Used for It)

Credit: Justin Patchin

By Alex Zitzner

Before the upcoming release of The Word We Used for It from the University of Wisconsin Press, I was able to grab a coffee with the latest Brittingham Prize Winner, Max Garland, and discuss his third collection of poems. Following two previous prize-winning books (The Postal Confessions; University of Massachusetts Press and Hunger Wide as Heaven; Cleveland State University Poetry Center), this third installment lends a new ear to topics of memory, nature, and how we account for each as our eyes become critical of our words. 

My immediate reaction was to pose a question about the title’s vagueness. With the word “It” being somewhat open ended, Max explained the title, noting how, “...we use words all the time as if we understand what they mean, but more often when we get down to it, we’re meaning very different things. Some of the most important things we try to say aren’t adequately conveyed…” By admitting the rift between what we experience and how we share those experiences, “The Word We Used for It” serves as a reference point for each trail of memories traversed in trying to find the right words to describe the journey. 

Max explained how memories often “...become colored with all we’ve experienced,” and become lost, slightly skewed retellings of stories. This idea can be found running throughout each and every piece of the book in its own way, allowing the reader to reflect on the theme as they go.  The poem, “The Woman Who Waved From the River” perfectly illustrates this sentiment.

Besides memories of childhood, another pertinent theme running through the collection involves nature and the urgency to depict the present before the next moment vanishes. As Max puts it, “There is a lot to be learned from creatures. Think of those rabbits and squirrels and the grit they have during the Wisconsin winters, there is a lesson in that. Look how invested they are on a day to day basis...look how alive they are, even if their life is going to be short.” A telling epigraph from Nazim Hikmet appears at the beginning of Max’s book: “Living is no laughing matter: / You must live your life with great seriousness / like a squirrel…” Hikmet’s words set the stage for Max’s, helping readers better understand nature’s constant state of motion, even if we don’t quite see it. 

The Word We Used for It will challenge readers to think deeply about language and its abilities. Having read it myself, I am certain the newfound perspectives will long stick with me, even as my memories begins to fade. 

Max will be releasing, reading, and signing this book at The Local Store on Friday November 10th. To hear Max read more about memory and nature, he will be reading with current Wisconsin Poet Laureate, Karla Huston, on Friday, October 20th at 4PM at the Unitarian Universalist Church as part of the Chippewa Valley Book Festival.

Barstow & Grand’s Inaugural Issue Available Soon (Interview with editor Eric Rasmussen)

Eric Rasmussen

By BJ Hollars

In anticipation for Barstow & Grand’s inaugural issue, we recently sat down with B&G editor Eric Rasmussen.  Read below for some behind-the-scenes details from the first issue, as well as what’s coming next! 

BJ Hollars: So B&G's inaugural issue will be released October 26 at 7PM at The Local Store!  Congratulations!  Tell us a bit about what people can expect at the release party?

Eric Rasmussen: The release party will be a mash-up of two of our favorite things: traditional literary readings, and office birthday parties. We will have about ten of our issue one authors on hand to read their work, as well as the editors of the journal. Then, we will stand around, eat cake, and make small talk.

Tell us a bit about the editorial process.  Who submitted and how many submissions did you receive?

ER: We received submissions from a wide assortment of people connected to the Chippewa Valley. Some of our authors have lived in Eau Claire their entire lives, while one woman from whom we accepted a prose piece and a poem is connected to the Chippewa Valley through her love of Leinenkugel’s products (she lives on the west coast). Taking this approach created an intriguing argument for what constitutes a “literary community” in the 21st century. What binds us in modern times is much more than geographic location, although our geography is still the focus of our communities.

We received almost 300 submissions from over 100 writers, of which we were able to accept a little less than 10%.

What surprised you most about the work you received?

ER: We knew going in we’d see lots of pieces about the themes that surround us in the upper midwest - the landscape, the seasons, rural living - but we were surprised by how predominant those themes were in the submission pile. This is a good thing and a bad thing - we want to capture the character of our home, but it can also be challenging to stand out if a few dozen other submissions are talking about the same thing. The other thing that surprised us was how many submissions we received from “new” writers. It’s obvious there are many people (who haven’t yet done so) looking for an opportunity to share their words. It’s exciting to give some of those authors a chance to do so.

What excites you most about the first issue?

ER: Honestly, that it exists. This has been a tremendous learning experience in all regards, from forming an editorial team, to soliciting pieces, to accepting pieces, to producing a physical journal. Now that we’ve got one done, we can implement all of the grand plans that had to be shelved while we learned the basics! Onward to issue two!

How can writers best contribute to Barstow & Grand?

ER: Buying an issue, without a doubt, would be the number one way to contribute. If we can build this endeavor into something that can someday pays its writers and staff, then we will have accomplished something really significant. Sending work is another fantastic way to support the journal. Not only would we cease to exist without quality submissions, we charge a small submission fee, which allows us to host a website, hold release parties with cake, and print the journal, so by submitting, writers are participating in our writing community in a concrete and measurable way. The other way is to keep working. Publishing writing is hard, and for most, only comes after lots of rejections and hours (days? months? years?) of toil. Our mission has always to be support the “professionalization” of the Valley’s writing community. Everyone who shares work with a writing group or who plunges into yet another draft is helping us achieve our mission.

What's coming up next?  When should people prepare to submit again?

ER: Submissions for issue two will open in March of 2018. We once again are looking for fiction, nonfiction, and poetry

Any final thoughts?

ER: There is so much involved in “becoming a writer,” and one of the final steps is seeking publication for one’s work. If you’re at that point in your writing life, Barstow & Grand is here to help. We exist for you. We can’t wait to see your submissions!

Looking forward to seeing you all on October 26 at 7PM at The Local Store!