Staying Connected Through the Newsletter, No Matter the Distance

By Erin Stevens

In late February of 2016, I sat in the packed event room at The Local Store for the Chippewa Valley Writers Guild’s first ever craft talk. I remember looking at all the writers and literary-enthusiasts around me, all displaying the same excited expressions on their faces. It was clear that this is what writers in the Chippewa Valley had been waiting for. 

It was definitely what I had been waiting for. 

After graduating from UW-Eau Claire in 2014, I moved to Minneapolis because it seemed like it could provide what I didn’t think Eau Claire could 一 more job opportunities and better chances at finding a writing community post graduation. Because at the time of my graduation, the writing community in Eau Claire seemed pretty limited to what was found in the creative writing program in the English Department at UWEC. I loved that community dearly, but when I graduated I found that community really no longer applied to me, which left me asking where do I (and my writing) go from here? 

While Minneapolis did provide more job opportunities, my expectations for finding a writing community fell flat. Other than one option that proved to be too expensive and not very welcoming, I hadn’t found anything. Even now, four years after my move, I’m still looking. 

Luckily, at the time that the Guild was founded, I had a job that brought me to Eau Claire once a week. I made sure my work trips coincided with craft talk/event days. After the craft talks, I’d make the two hour drive back home, inspired by whatever topic was discussed that evening and motivated to work on my writing. 

But that summer I got a new job, which was ultimately a good thing, but it meant I wouldn’t be coming to Eau Claire as often. It broke my heart knowing that there was this great new organization that was going to change the game for writers in the Chippewa Valley, and I was going to miss out on being part of it.  

That’s where the newsletter comes in. Maybe I couldn’t attend every craft talk, or chat in-person with area writers to pick their brains on various topics, but I could read recaps from the events and read advice from those area writers in the Guild’s newsletter. I, and other Guild members who live outside the Chippewa Valley, could even contribute to that newsletter if I wanted to, adding my voice to the chorus of other writers in the community to remind them that, even though I’m two hours away, I still care deeply about this community.  

When BJ asked if I wanted to help him out as editor of the newsletter, I said yes without hesitation. The idea of helping writers stay connected to the Guild - regardless of their geographic location - seemed too good an opportunity to pass up. Plus I like the idea of being able to read articles before they’re published in the newsletter - it makes me feel special.

And you should feel special, too. Because by reading the newsletter, and catching up with old friends, you can remain a vital part of our organization, too--no matter the distance.

So, if you have an idea or you’ve already written the words that you want to share with our community, send them to chippewavalleywritersguild@gmail.com. I can’t wait to read your work!

Bruce Taylor On His New Book, Breaking Forms, and Fish Chowder

credit: Justin Patchin

by Chloe Ackerman 

I will never stop being amazed by the awe-inspiring power of words. In my studies as a creative writing major at the University of Wisconsin-Eau Claire, I have consistently found myself motivated by the writing processes of other writers. I was especially excited to have the opportunity to interview Bruce Taylor—former poet laureate of Eau Claire, and professor emeritus at UWEC—about his new book Poetry Sex Love Music Booze & Death. Bruce Taylor will be reading from this book at The Local Store in downtown Eau Claire at 5PM on Monday, October 8th. Be sure to swing by and pick up a copy!

Chloe Ackerman: Has your poetry style evolved over time? If it has, how has it changed? 

 Bruce Taylor: As a young poet in the 60’s I would say, along with many others, things like “the sonnet is where old poets go to die” What I didn’t know I meant was I wasn’t good enough to write one. It takes a while to get your chops. Formal poetry is easy to do badly but hard to do well. You try.

CA: Have you noticed any changes in the poetry or literary scene around Eau Claire?

BT: I don’t know if more folks are writing across the Chippewa Valley, though it seems so. There are certainly many more venues to share: the readings at places like the library, The Local Store, The Pablo Center, publications such as Local Lit, Barstow & Grand, Twig. And the CVWG is directly responsible for injecting new energy and interest in writing. For a population the size of ours, the CVWG list an extraordinary number of writing groups, and book clubs.

 CA: At what point in the poem writing process do you decide to put it in a form?

 BT: Very early, and you don’t “put” it into a form as much as coax, tease, worry, beat it in that direction. The form can always be abandoned, and the poem turns into something more free (er) verse, and often better. Or you can simply cheat. We call it “pushing the envelope.” I have some 16-line sonnets, 3-line couplets and an envoi-less sestina. A form is only as good as it can be challenged, stretched, adapted. Still only about half of my poems are in traditional forms. The new book brings them together for the first time in one volume.

 CA: What question would you like to be asked that gets at the core of you as a writer and/or your writing?

 BT: You just asked it.

 CA: On October 8th at 5pm you are reading from your new book, Poetry Sex Love Music Booze & Death, at a Local Lit: Off the Page event in the Local Store. What do you hope people will take from this event and other events in the series with other local authors?

 BT: A book.

 CA: Is there anything else you would like to share?

 BT: I make a very good fish chowder.

On Eating Fire, Following the Research Trail, And Enduring, Enduring, Enduring: A Q&A with Tessa Fontaine

credit: Annie Agnone

BJ Hollars

During my time at the University of Alabama, I had the pleasure of sharing the classroom with nonfiction writer Tessa Fontaine, whose debut memoir The Electric Woman, has received rave reviews from Kirkus Reviews, Publishers Weekly, Vogue, among many other venues.  Additionally, her book been named a New York Times Editor's pick, as well as a Barnes & Noble Discover Great New Writers pick.  Which is the long way of saying: I’ve got some pretty talented friends.  On October 19, Tessa will host the program “Recklessness, Obsession and Wild Abandon” as part of the Chippewa Valley Book Festival’s annual dinner at The Lismore Hotel.  Purchase your tickets here.

Read on to learn more about Tessa, her writing, and the books that inspired her own.

 BJ Hollars: In graduate school, your work explored an array of topics—from Alabama ghost stories of hoboes riding the rails to Jacques Cousteau.  Did your interest in immersive journalistic techniques, such as joining the last sideshow, seem like a natural progression, or were you spurred to action due to your mother's health issues?

 Tessa Fontaine: I love writing nonfiction because it gives me permission to follow the trail of something I find interesting as deep into the story as I can go. That's what I loved about those earlier nonfiction projects I was working on, and it's the same thing that prompted the beginning of my investigation into the sideshow. But I think my mom's illness—and her impending trip to Italy, from which I didn't think she'd return—that gave me the final push to actually join up with another life entirely. I didn't really know much about immersive journalism before that, but I was hungry to be swallowed by another world, since the one I knew seemed to be falling apart. 

BH: Over the years, I've regularly taught your essays with students, and they're always astonished by your bravery.  Specifically, your willingness to leave school to pursue a life wholly unknown to you.  Can you describe those first moments when you transitioned from graduate student to fire-eating bally girl?    

TF: The transition from graduate student to fire-eater wasn't immediate. In graduate school, you are valued for your brain, for what kinds of things you can think and write. In the sideshow, while quick wit and a fast tongue are important, the most fundamental skill was a physical ability to endure. So I found myself, in my first few days out with the sideshow, still trying to define myself and connect with people by how I could talk about myself, by my accomplishments. But there was always work to be done. Packing and scrubbing and eating fire. So I quickly adapted, understanding that the way to be valued out on the road is to eat fire with such confidence and allure that the audience can't help but buy tickets for the show inside. To work for hours putting up the circus tent without complaining that you're too tired, or the sun is too hot. It was a shifting of work values and skills, neither one better than the other, but a definite rearrangement. 

BH: In writing about learning to eat fire, you note, “The only way to do it is to do it,” adding later that “There is no trick.”  For me, this seems an apt metaphor for many of life's difficulties.  (Robert Frost's line "The only way out is through" also comes to mind.)  When grappling with the loss of your mother, did you find yourself experiencing a similar sentiment?  Does grief, too, transcend the notion of a trick?     

TF: I think grief absolutely transcends the notion of trick. In the face of a profound and sustained loss, as was happening with my mom for years, there's an understandable desire for things to change. For there to be some shift, some miracle, some departure. I came to understand why so many people find themselves alienated from their loved ones in the face of a long-term debilitating illness—choosing to be distanced. While my mom was sick, I kept waiting for something to change, and the heartbreaking and exhausting reality that she wasn't going to get better was almost impossible to accept. But ultimately, that's all there was to do. There was no trick, nothing to make it easier or faster. There was just this: endure, endure, endure.

BH: Some have compared your spirited prose and adventurous spirit to memoirist Cheryl Strayed's work, in particular, her bestselling book Wild.  Did Strayed's work—or the work of other writers—inform The Electric Woman? 

TF: Yes! I love Cheryl Strayed's spirit and am honored to be compared to her. I think stories of people—especially women - doing physically amazing things are some of my favorites. I had a lot of other books open near me while I wrote The Electric Woman as well—Lidia Yuknavitch's memoir The Chronology of Water, Justin Torres' novel We the Animals, anything by Anne Carson, Jazz by Toni Morrison—I keep a pretty wide array of books open around me and imitate their prose as best I can. 

BH: What don't readers know about your book or your experience writing it?

TF: For me, writing is one of the greatest exercises in empathy. To write the characters in The Electric Woman, I had to think of them as both real human beings, and also characters, versions of the real people, since it's impossible to show all of who someone is. And to do that, as is necessary with a fictional character as well, you have to show all sides—the good, the bad, and the ugly. The lovely things they do and their flaws. I think it helped me become a better person— to have to think through a person's best sides as well as their mistakes. It created such a swell of empathy, and I'm very grateful for that. 

Craft Talk Preview: Jason Smith on Making Your Stories Stand Out

by Emma O’Shea

I recently had the chance to speak with Jason Smith, the associate director of the Wisconsin Academy of Sciences, Arts and Letters, and the editor of Wisconsin People and Ideas. We talked storytelling, publishing advice, and more. Check out his advice below, and make sure to attend his Craft Talk this Thursday, September 20th, 7 p.m. at the L.E. Phillips Memorial Public Library! Smith will explore how to craft gripping ledes and incorporate dramatic elements that captivate readers. He will also provide insight on how to translate complex subjects for, and explain abstract ideas to, general audiences.

Emma O’Shea: In your seventeen-plus years of publishing experience, what stands out most to you when choosing writers to publish?

Jason Smith: There are a couple of elements that you look for in good writing, and part of my talk coming up this week is about storytelling. Being able to succinctly tell a good story, something that I call the barstool pitch, is important. If you can summarize what your story is in a brief paragraph; outlining your lead elements, talking about your lead characters, and the conflict or the dramatic element that’s going to carry the reader through, that has a symbolic element that reflects personality traits of the characters and subjects. Talk a little bit about the outcome of what that story might be. People will read this story and once they’re done reading it, they’re really going to have a greater understanding of the experience of this kind of person. Whatever the story is and wherever it takes you, thinking clearly about the outcome and beginning is important. If somebody’s got a really refined idea, then their pitch will have those elements in that.

EO: What would you say is a useful tip for writing a concise, yet resonating article?

JS: The question I think writers (myself included) should ask about their piece is “why this now”? This seems deceptively simple, right? You know, I can ask those questions, but when you start passing your piece through that crucible, through that filter, it really makes you clarify the story you’re telling. It seems the “why” is so obvious 一 because the editor told me to write about this. It’s not always like that. You must find the why in the heart of whatever story you’re writing. What's going to make it compelling, and then how does it fit for this particular publication? How do you make that connection for readers and bring the why right to the front so that they’re really understanding why this piece is sitting in front of their face. There are so many stories, so many different kinds of people. So many interesting ideas out there. What makes this particular one stand out above and beyond everyone else, why is this case exceptional? Here’s where the drama comes in, where you can really lock in the reader’s attention on this story opposed to the 8 million other things that fly before our eyes on a daily basis. The now factor is something that’s tethered to the moment. It can be a cultural movement, something on a local level or a response to a tragedy, but really hitting the timing of the piece is key.

EO: What would you consider the most important skill a writer can hone?

JS: That goes back to storytelling. We tell stories in the way we’ve communicated for thousands of years. Recitation of the facts and an attention to detail is good. It’s really important to get your research right and to be really thorough, so as not to betray the trust of the reader.

EO: How would a writer most effectively avoid clichés on well-covered subjects?

JS: Don’t get stuck in those tropes and archetypes. The story of the up and coming someone doing great work; those stories are familiar and can sometimes border on cliché. The best way to deal with that is to try and find elements that complicate our understanding of these people, rather than follow along the rather rigid plotting character arcs. By complicated, I mean bringing in elements that change our understanding rather than just supply the detail and the things necessary to keep us going on a singular path.

EO: What would you say is vital for writers to know when trying to get published?

JS: This goes back to understanding where writers are pitching to and the mechanics of that magazine. Whether it’s an outdoor magazine or a literary one, really understanding the philosophical underpinnings of it. People all the time look at the contributor’s page, but they haven’t read any of the articles, so it’s helpful for them to go back and read some of our pieces and look at the types of writing and work that we’re doing here at the magazine. We’re looking to shine a light on not just scientific, artistic or literary expertise and innovation, but the ways in which these are used in the service of Wisconsin’s people and places. The second thing to consider is how does this translate some aspect of the creative process and make that process more accessible and intelligible to a general audience. There’s a human story in every story and finding ways to show how a person scientific, artistic, or cultural literary, works reflects the dignity in the work that people do on an everyday basis. So, I’m pulling back the curtain, this isn’t alchemy, or the work of a sheer genius. It’s the collaborative effort of people who are just trying to make their lives and the community that they live in a better place. The third thing is getting back to that notion of complicating our understanding. Getting off of that familiar plot or path line and showing people that it takes all kinds of people to compromise on community. In the case of our magazine, Wisconsin People and Ideas, we want articles that don’t show us this person going on this predictable path. We want to see something kind of unpredictable.

Meet Jason this Thursday at 7PM at the L.E. Phillips Memorial Public Library!

Dispatches from Dan: A Reflection on the Last Day of a Cirenaica Retreat

photos by Justin Patchin

by Dan Lyksett

July 22, 8:15a.m.

Last Day of the Retreat

I forgot to take my memory pills this morning. It’s been a rough couple days.  Who woulda thought a fiction writers workshop could be so demanding?

Physically demanding. Mentally demanding. Emotionally demanding.

Physically we don’t do a lot of manual labor. A lot of typing and scribbling in notebooks. The physical challenge comes when the hard work is done and lid on the beer cooler is opened and the campfire kindled and we pace around to collect in groups and sit and share and pace around some more and collect in different groups and sit and share. The waking nights last long enough to dance on the deck and attempt to roast cookies in the flames with bare hands. And when there should be sleep there is instead sorting through the various flavors we tasted in the knowledge cake we’ve eaten that day. Cinnamon? Point of view? Anise?

The mental challenge comes with the people, 10 writers, one mentor, assorted ages, occupations and backgrounds with the one common denominator that we write, and we want to write gooder. There is book learning here and there is native talent here. There is success here and the not yet successful here, and each teaches you something. The retired English professor inadvertently reminds you there are words in the language you do not know, and the mentor pleads that your fiction is “Lies, all lies, and the lies must seem real.” And you are forced to consider your hard-earned lies anew.

The emotional toll comes at the end. Writers live as a solitary species, and so the inevitable separating from the rare herd is difficult. Writing is paddling a canoe upstream, alone, and with a broken paddle. There’s comfort in being within earshot of others fighting the current, scraping rocks, ducking under an overhanging waterfall, and someone to help push you off the sandbar of an awkward transition. I will miss those voices and those helping hands. But if I remember my pills tomorrow, I’ll perhaps remember some of what I’ve learned. I think I’m leaving with a little better paddle and more worthy canoe.

You Get When You Give: A Special Note From Director BJ Hollars

A few months back, after my beloved writers group provided me with some firm but fair feedback on an essay, I wandered back toward my minivan in a haze. I’d spent weeks on that essay, and yet it seemed as if every last word had fallen flat. Frustrated and dejected, I returned to my minivan, collapsing into my seat and putting my key into the ignition. Or rather, I tried to put my key into the ignition, but it wouldn’t fit.

Odd, I thought, taking a closer look. It worked an hour ago.

And it still would have worked had I entered the right minivan. But in the midst of my writerly haze, I’d entered a stranger’s vehicle. That’s right: I’d inadvertently broken into somebody’s van. I leapt out, scanning the darkness for the cops who would surely arrive any minute. 

When I was certain the coast was clear, I began to laugh. Ahead of me, I saw the silhouette of my buddy Ken, who by then was walking toward his own vehicle (and the one he owned, I might add). “Hey Ken!” I called. “I just got into the wrong van!”

He laughed. This was exactly the kind of thing he’d come to expect from a writer like me.

I share this wholly embarrassing anecdote to make a larger point: when we writers spend too much time in our own heads, we lose sight of the larger world. And losing sight of the world—and each other—is a trespass far greater than momentarily entering the wrong van. 

The fix, of course, is to come together as a writing community. To rely on one another so we don’t have to rely fully on ourselves. For the past two and a half years, the Chippewa Valley Writers Guild has worked tirelessly to provide such opportunities. Over the past year, we’ve made our greatest strides yet, including grants from the Eau Claire Community Foundation, JAMF Nation Global Foundation, Visit Eau Claire and the Wisconsin Arts Board, as well as a city proclamation, and the formation of 6x6: A Reading Series, Writers Anonymous, and Barstow & Grand and continued partnerships with The UW-Eau Claire Foundation, The Eau Claire Regional Arts Center, the UW-Eau Claire English Department, Blugold Radio, Volume One, Wisconsin Public Radio, the Chippewa valley Book Festival, the Brewing Projekt, and so many other local organizations. In addition to all this, one of the accomplishments I’m most proud of (thanks to the generous support of Dotters Books, the Sultan Family, the Guild, and a pair of anonymous donors) was our ability to offer scholarships to 10% of our Cirenaica participants this summer. We are changing writers’ lives in fundamental ways, and through their writing, changing our world, too. 

WE NEED YOUR HELP

I come to you now because we need your financial support. For as little as 5.00 a month, you can ensure the Guild’s long-term sustainability with your tax-deductible donation. Not only that, but by joining at any level (Scribblers, Scribes, Wordsmiths, Practitioners, or Patrons) you’ll be eligible for a wide array of gifts: free Barstow & Grand and Cirenaica submissions, stickers, postcards, as well as being entered to win personalized first-edition copies of books by authors from near and far. You can also receive a consultation on your own writing courtesy of a Barstow & Grand editor.

For complete details, click here, then click the “Give to the Guild” button and direct your gift to the “Chippewa Valley Writers Guild Monthly Sustaining Membership” campaign.

It’s hard to quantify just how significant an impact we’ve made together over the past year. Do we measure our success by books published, words written, or the friendships we’ve forged while pounding at the keys? As for my own success, I’ll rely on a single measure: my ability to avoid entering any minivans that don’t belong to me. 

If you value our work, then help ensure that we can keep doing it. We are here for you, but we need you to be here for us, too. 

Please make your gift today. And then, directly following, let us get back to the important work that warms our souls, enriches our lives, and helps build our community one word at a time.

Yours,
B.J. Hollars
Executive Director, Chippewa Valley Writers Guild

Chippewa Valley Writers Guild Awards Five Scholarships for 2018 Summer Writing Retreats

Thanks to the support of Dotters Books, the Sultan family, Chippewa Valley Writers Guild donors, and a pair of anonymous donors, this year the Guild was thrilled to award five scholarships for writers to attend Cirenaica, a writers retreat in Fall Creek, Wisconsin.  

This year’s recipient of the Dotters Book Scholarship is Katy Hackworthy of Eau Claire, Wisconsin.  She writes, “I feel incredibly humbled to receive this honor from a group of women who I respect and who truly display a passion for literacy and equity in the Chippewa Valley.  This award will help me continue to create works that highlight issues I am passionate about, as well as give me the opportunity to further engage with a community of artists that motivate and inspire me.”  Elizabeth de Cleyre, Margaret Leonard and Jill Heinke Moen of Dotters Books say, “Dotters Books is excited about this opportunity to support a local woman writer and her literary work at the Cirenaica Writers Retreat. As women owners, we aim to promote literacy and equality in literature by creating spaces for other women to create. It is our belief that supporting the literary community will help foster collaboration and creativity within the Chippewa Valley.”

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The recipient of the Sultan Scholarship is Sarah Merrill of Sarasota, Florida. “During my time at Cirenaica, I’m hoping to generate new material for a collection of short fiction, set primarily in my home state of Florida. This will be my first time visiting Wisconsin, and I'm excited to broaden my horizons by spending time in a new region of the country. I’m so grateful for the opportunity to connect with fellow writers, as we all strive to delve deeper into our craft.” Author Cathy Sultan, and the scholarship’s underwriter, remarks, “I was very fortunate to have had someone offer help and encouragement in my early writing career. Now it is my turn.”

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The recipient of the CVWG’s Alumni Achievement Award is Dan Lyksett of Eau Claire, Wisconsin.  “I'm so grateful to the CVWG for its generosity, allowing me to participate in another Cirenaica workshop. The retreat experience not only directly impacts my writing, but more importantly connects me to new friends and mentors in our growing writing community."

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Finally, our Undergraduate Creative Writing Awards go to Caleb Rosenthal (above, right) of Lawrence University (Appleton, Wisconsin) and Andee Erickson (above, left) of the University of Wisconsin-Eau Claire.  Caleb writes, “I am thrilled to attend the Cirenaica retreat with Holly Hughes because it will give me the opportunity to immerse myself in an inspiring and creative atmosphere generated by the presence of other passionate writers, and it will allow me the time to focus on growing as an artist and person."  Andee writes, “I applied to a Cirenaica retreat to expand the way writing exists in my life. Writing creatively is a passion I've kept to myself and I'm excited to celebrate the process with a supportive community. And I'm looking forward to learning from Michael Martone about how to care for each part of the story.

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Thanks to these generous donors, this summer, 10% of our Cirenaica participants are scholarship recipients.  “We’re moving in the right direction,” says Guild director B.J. Hollars.  “One day I dream of being accessible to 100% of participants.  We welcome any and all local businesses, organizations, and individuals who’d like to help us reach this goal.”

Both the Dotters Book Scholarship and Undergraduate Creative Writing Awards were selected by a blind submission process.  The CVWG’s Alumni Achievement Award was selected by Cirenaica staff.  The Sultan Scholarship was selected by CVWG executive director B.J. Hollars.

Three Books In A Year: A Q&A with Chippewa Falls' Dedicated Writers Society

Few writing groups have flourished as mightily as the Dedicated Writers Society, Chippewa Falls' premier writing group.  The group describes its vibe as "warm and welcoming, supportive and constructive," which seems to be the perfect conditions for a thriving community of writers.  Over the past year, three of its members, Jackie McManus (author of The Earth Mover’s Daughter , Connie Russell (Happily Ever After), and Everin Houkom (author of Crazy Music and Daddy Didn’t Come Home) have published new works.  Read on for a Q&A with the group members.

Tell us about your writing group.  How did it begin?  Can you describe the meetings?

Connie:  After a book talk by BJ Hollars, a discussion I had with him and Joe Niese, Chippewa Falls Public Library director, led me to think we might try a writing group at the library.  We meet from 6:00 to 8:00 p.m. the fourth Monday of each month.

What makes it successful?

Ev:  One reason it’s successful is that Connie sees that everyone has a chance to read and respond.  We also welcome anyone who would like to attend.

Connie: I keep my eye on the clock, but so far everyone respects the others’ time.  If there is time before 8 o’clock, a person can take a second turn if they have more they would like to share. People come and go, but there are about six of us who come regularly, and we trust each other to be honest but supportive.

How has the group helped you grow as a writer?

Ev:  We were tentative at first, but we’ve evolved.

Jackie:  As a poet I thought at first I might not come back.  People said they didn’t understand my poetry, and they couldn’t give feedback because as writers of prose, they were unsure how to critique poetry.  But I came back, and they have been helpful and are trying.

Ev:  I’ve gained confidence as a writer here and at Cirenaica.

Connie:  Me too, and knowing we’re meeting on a regular basis keeps me writing.

Ev:  With my first book, I didn’t know how much to bring.  My second book went better. I’ve gained confidence.

For more information on the group (and other regional writing groups!), check out our directory here.

You Can Go Home Again: On Returning to the Midwest and Finding A Community At Cirenaica

credit: Justin Patchin Photography

by Ty Phelps

I grew up in Wisconsin: Summers meant farmer’s market cheese curds on the Capitol Square in Madison, swatting mosquitoes around the campfire at night, the smell of cow manure from the farms, the temperature drop after a thunderstorm. I became moderately comfortable with my adolescent body through the forced nakedness of tick checks and skinny dipping at summer camp. I was a Midwesterner through and through, attending Carleton College in Minnesota, canoeing in the north woods each summer, and even smugly muttering to myself when I traveled in France, yeah, France, you may have the Louvre, and Haute Cuisine, and vineyards up the yang, but where I come from, we’ve got Leinenkugel’s Creamy Dark, the Boundary Waters, Walleye on Fridays, and Bob Dylan.

And then I left. I lived on the West Coast for over a decade.

The idea of moving back to Wisconsin had just started percolating in my mind when my mother mailed me an article cut out of a magazine. A review for a book called Shotgun Lovesongs by Nickolas Butler. Soon I had read it. I’m not sure I’ve ever read any fiction that more perfectly captured the overall feeling of my homeland. I cried after the first few pages, read the rest in a couple of days, and spent the next weeks scratching phantom mosquito bites, craving the North Woods sky and the tepid taste of bad Milwaukee beer.

Soon, I decided to move back. And just before returning, I applied for and was invited to Nick Butler’s weekend fiction workshop at Cirenaica through the Chippewa Valley Writers’ Guild. I couldn’t believe my luck: I was going to meet a Midwestern writing hero of mine.

The weekend was phenomenal. The mixture of writers was delightful: young, old, in-between, teachers and journalists and mothers and fathers. Camaraderie was quickly established among the group as we dove into critique under Nick’s focused but gentle guidance.

Cirenaica itself was lovely, nestled in woodsy farmland, with a beautiful kitchen, comfortable rooms, and ample nooks for writing, thinking, or sipping coffee. It was a productive weekend: I left with multiple friends, excellent feedback, and a complete first draft of a new story.

Also, we ate like kings.

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!

5 Reasons Why You Should Apply to Michael Martone's Prose Writing Workshop This Minute!

Credit: Theresa Pappas

This summer (July 12-15), we’re thrilled to welcome University of Alabama (Roll tide!) professor Michael Martone to Cirenaica, where he’ll host “From Start to Finish: On Beginnings, Endings, and All the Words In Between”.  Michael’s the author of several books, including the newly released essay collection, Brooding.  In addition, he’s also the author of several beloved books, including Four for a Quarter, Fort Wayne Is Seventh on Hitler’s List, Racing in Place, and Michael Martone (no, that’s not a typo).  Read on for 5 great reasons to sign up for his writers retreat today.

1.)   The Importance of the Parts

The workshop model often attempts to tackle a piece of writing “in total.”  What’s working, what’s not, etc., etc.  But in Michael’s summer retreat, participants will focus on the various parts of a piece of prose.  As the title suggests: beginnings, endings, and all the words in between.  It’s a unique approach sure to get writers thinking more critically about the various part of their work to ensure the improvement of the work at-large.

2.)   The Beloved Writing Teacher

Few writing teachers in America are as beloved as Michael Martone.  Perhaps the best way to describe Michael’s commitment to his students is to speak about his unique way of staying in touch.  For years, Michael has sent thousands of postcards to former students and friends.  He stresses the importance of maintaining connections, and of making new friends along the way.  Sign-up!  There might be a postcard in it for ya!

3.)   Process > Product

In the classroom, Michael stresses the importance of the writing process over the writing product. In short, if one’s writing process is attempted with enough repetition, eventually the product will come.  It’s a philosophy that, for decades, has made writers feel more comfortable with their words.  Like anything, writing is a practice.  And like everything, it becomes easier with time.

4.)   Special guest B.J. Hollars

Full disclosure: B.J. Hollars may (or may not?) be the one writing these words.  And so, it’s rather presumptuous (well, no “rather” about it, really) for him to hype himself in an effort to further hype Michael Martone.  To try to steer clear of that particular can of worms, he’ll just say this: B.J. Hollars studied under Michael Martone while receiving his MFA at the University of Alabama.  Under Michael's tutelage, Hollars learned the importance of experimenting.  From the hermit crab essay to writing in the third person (this paragraph’s a good example…), Hollars’ writing grew dramatically during his time working with Michael.  Michael served as Hollars' thesis advisor as well, and provided vital guidance in what would become Hollars’ first book, Thirteen Loops: Race, Violence and the Last Lynching in America.  And he's continued to be a major supporter and inspiration for every word since.  Suffice it to say: Hollars looks very forward to the reunion. Click here for a story on Michael and B.J.'s somewhat awkward first meeting.  

5.)   One word: food.

Yeah, yeah, yeah. You’ve heard this one before.  But trust us, food is vital at a writers retreat.  If you’ve got good grub, you’ve got good writing fuel.  This summer, we’re proud to welcome chefs Michelle Thiede and Kristen Dexter, co-owners of FORAGE, to the Cirenaica team.  They’re bringing their cooking skills out to the lodge to ensure that we’re all always well fed. From chilled corn soup to pepper crusted tenderloin, there’s something for every taste bud. Click here for the full menu.

The deadline is May 1!  Submit your application this minute by clicking here!

5 Reasons Why You Should Apply to Nickolas Butler’s Fiction Writing Retreat Right Now

This summer, we’re thrilled to welcome back Nickolas Butler, who will host “Building a Solid Base: Getting Your Fiction Off on the Right Foot.”  Nick’s the author of several books, most recently The Hearts of Men. Read on for 5 great reasons to sign up for his writing retreat.

1.)   He’s an award-winning novelist!

If we were to name all of Nick’s accolades, there’s a good chance we’d break the internet.  From the PAGE Prix America Award to the 2014 Great Lakes Great Reads Award, the 2014 Midwest Independent Booksellers Award, the 2015 Wisconsin Library Association Literary Award, the 2015 UW-Whitewater Chancellor's Regional Literary Award, the…okay, better stop there.  Just last week he was the recipient of the Friends of American Writers award for The Hearts of Men. If you haven’t read it, you must!

2.)   Three words: generous, generous, generous.

Ask any of Nick’s past participants about their experiences working with him, and they’ll all tell you the same thing: Nick is one generous writer.  For the past two summers, he’s hunkered down with writers of all levels to ensure that they leave his retreats with a clear path forward.  Some of our fondest memories of past summers involve Nick chatting with people on the back deck, providing personalized feedback on their work.  What an honor it is to have Nick’s editorial eyes on your writing.  

3.)   Peter Geye’s the special guest! 

In addition to working with Nick, we’re excited to have a special visit from novelist Peter Geye.  Peter’s the author of several books, most recently Wintering.  Of Wintering, Pulitzer Prize-winning writer Richard Russo wrote, “The last time I read a literary thriller so profound Cormac McCarthy’s name was on its spine.”  Not a bad blurb!  Click here to learn more about Peter.

4.)   Scholarships!

Thanks to Dotters Books, the Sultan Family, and an anonymous donor, this summer we’re excited to offer three scholarships.  If you’ve wanted the chance to work with Nick or another writer-in-residence, but the cost proved prohibitive, this could be your chance!  Apply today, and be sure to note your interest in our scholarships!

5.)   One word: food.

Yeah, yeah, this will be our fifth reason to sign up for every retreat.  But for good reason!  Food matters!  And nothing gets writers more ready for the hard work ahead than a wonderful meal prepared by wonderful chefs. This summer, we’re proud to welcome chefs Michelle Thiede and Kristen Dexter, co-owners of FORAGE, to the Cirenaica team.  They’re bringing their cooking skills out to the lodge to ensure that we’re all always well fed. From herb roasted fingerling potatoes to cheese and red pepper risotto, there’s something for every taste bud. Click here for the full menu.

The deadline is May 1!  Submit your application this minute by clicking here!

On Writing "Bend in the River"

By Emilia Hurst

It’s not easy writing an 8-episode radio drama, but then again, writing of all kinds can be difficult.  Yet writing Bend in the River proved particularly tricky due to its plot line: the story of 25-year-old David Sundy who, while boarding a ferry en route to his grandfather’s funeral, time traveled to 1958. 

Had any of the writers been alive in 1958, things might have been easier.  But since they weren’t, they relied upon research and the audiences’ ability to suspend their disbelief—the latter of which is a staple in science fiction stories.

Co-writer Charlotte Kupsh hopes the radio drama’s science-fiction elements will appeal to listeners. “I actually don't read a ton of sci-fi and fantasy, so writing a podcast about time travel was an exciting and new experience for me. But I think that, broadly, the podcast is echoing the trend in popular literature toward stories that are crossing tonal and genre boundaries. So, our podcast is about time travel and there are definitely some classic sci-fi elements to the plot, but it's also a really funny show. Similarly, we have a lot of laugh lines in there, but we also have quite serious moments where characters are grappling with issues like gender inequity and stereotypes in the late 1950s. We're doing a lot of things at once.”

The radio drama was collaboratively written by local writers Charlotte Kupsh, Jim Rybicki, Ken Szymanski and B.J. Hollars—a process that Charlotte says proved to be a lot of fun.

“Personally, I really enjoyed the opportunity to work collaboratively with BJ, Jim, and Ken,” Charlotte says.  “We all have different strengths as writers, and we functioned really well as a team. We ended up working through a lot of individual scenes together, with all of us in one room bouncing ideas off one another and trying to come up with the right line of dialogue that would really pull a moment or scene together. Those were some of my favorite moments in the writing process.”

Once the words were written, it was up to Blugold Radio station manager Scott Morfitt and his producers, Nathan Baughman and Eli Klatt, to bring those words to life.  Following several recording sessions with a group of talented voice actors, Scott and his team got to work editing.  Asked about his favorite part of the process, Scott didn’t hesitate: “Watching our producers work to mold the amazing work the writers and actors did into one larger piece.”

When asked where she got the inspiration for Bend in the River Charlotte credits the collaborative process.  “I actually got a lot of inspiration from the other writers. BJ is such an energetic person, and that translates to his writing—he's willing to try anything on the page. And Jim is full of great ideas. He has a way of visualizing the inner workings of the plot and figuring out exactly what's missing--he wrote us out of more than one tricky plot hole. And Ken has a really good understanding of what words or phrases just sound right in the script—he did so much to help polish our scripts. With a team like that, it was hard not to be inspired.”

 You can listen to Bend in the River Fridays at 7PM with re-airs on Sundays at noon and Wednesdays at 7PM only on Blugold Radio 99.9. In addition, you can catch up on previous episodes here.  The live dramatic reading of the final episodes will be held at The Metro at 7pm on Saturday, May 5th.  Tickets can be purchased here (10.00 for general admission, 25.00 for VIP).  Don’t worry if you fall behind; the live reading will feature a special recap to ensure that both new and old listeners know everything they need to about the twists and turns in Bend in the River.

5 Reasons Why You Should Apply to Holly Hughes’ Multigenre Writers' Retreat Right Now

This summer, we’re thrilled to welcome Washington-based poet and mindfulness expert Holly Hughes to Cirenaica where she’ll host “Words to Hold A Glittering World: Crossing Genres Mindfully.”  Holly’s the author of several books, most recently Passings, a collection of poems on extinct birds.  In addition, she’s the co-author of The Pen and The Bell: Mindful Writing in a Busy World.  Read on for 5 great reasons to sign up for her writers' retreat.

1.)   It’s multigenre, which means it’s for everyone!

Whether you’re a poet or prose writer, this retreat is for you.  While Holly’s first genre is poetry, she’s published prose widely as well.  On her website she describes herself as a writer, poet, teacher and editor.  And she's all these things and more!  Her retreat is centered on “crossing genres mindfully,” which means exploring how to use all the tools in your writerly tool belt to select the perfect genre to write the perfect piece.  By expanding beyond genre distinctions, we give ourselves (and our work) new opportunities to grow.

2.)   She’s an award-winning poet!

In 2017 Holly’s book, Passings, was the recipient of the American Book Award from the Before Columbus Foundation.  What an honor!  It’s a rare treat to work with a poet of this caliber, and she’s excited to work with you!   Click here to read about all of her work.

3.)   Three words: Mindfulness, mindfulness, mindfulness.

What began as a correspondence between Holly and Brenda Miller soon turned into much more.  As the pair of writers continued exchanging letters they realized that their thoughts on writing in a busy world might be of use to others, too.  Their letters resulted in the formation of The Pen and The Bell: Mindful Writing in a Busy World, a book that discusses “how to achieve mindfulness and creative fulfillment in spite of long to-do-lists.”  The book couldn't have come at a better time.  Learn how to let the world go and give yourself to your words.    

4.)   Max Garland’s the special guest! 

Cirenaica alums surely know Max Garland, the former poet laureate of Wisconsin and the winner of the 2017 Brittingham Award in Poetry for his book The Word We Used For It.  Max’s commitment to his fellow writers is second to none, and he’s excited to spend a bit a time with us this summer.

5.)   One word: food.

No writing retreat is complete without a bit of gluttony.  At Cirenaica, we’re happy to accommodate by way of 9 chef-prepared meals at each retreat!  This summer, we’re proud to welcome chefs Michelle Thiede and Kristen Dexter, co-owners of FORAGE, to the Cirenaica team.  They’re bringing their cooking skills out to the lodge to ensure that we’re all always well fed. From Mason Jar watermelon feta salad to lemon caper grilled salmon, there’s something for every taste bud. Click here for the full menu.

The deadline is May 1! 

Submit your application this minute by clicking here!

5 Questions With Alex Zitzner, the 2018 Cirenaica Assistant Arts Administrator

A hearty welcome to poet and UWEC student Alex Zitzner, who will serve as Cirenaica's Assistant Arts Administrator this summer.  Get to know him by reading a brief interview below!

Tell us a little bit about yourself!

I am currently going into my senior year at the University of Wisconsin-Eau Claire where I have been studying/doing creative writing the whole time. In addition, I am the Editor-In-Chief for their fine arts magazine, NOTA, an English Ambassador, and an intern for the Barstow & Grand literary journal.

Do you have a favorite book, poem, or author?

I am primarily a poet, so most of my taste revolves around poetry, but my favorite novel is either Hermann Hesse’s Siddhartha, or Albert Camus’ The Stranger. The kinds of stories I enjoy have a lot of philosophical backing to them, and these two books are chock full of ideas on existentialism and modernism.

As far as poems, I think I have read too many to pick a favorite, but I will get two birds with one stone and just list a few of my favorite poets. These days I have been enjoying Kaveh Akbar, Ocean Vuong, CAConrad, Rosebud Ben-Oni, Tyehimba Jess, and Tommy Pico’s work a lot. My longstanding favorites are the New York School of poets though, mainly being Frank O’Hara and Ted Berrigan. And Rimbaud. Can’t forget about Rimbaud.

What is the best writing advice you have gotten so far?

I’ve been extremely lucky to meet Karla Huston and Max Garland at different points in my life and both gave me the same advice: “Keep writing.” As simple as it may sound, these are the words I live by. I think this is the secret to it all too, but don’t tell anyone I told you.

Are you looking forward to anything in particular at the Cirenaica retreats?

I really am looking forward to meeting so many people who are passionate about their writing. We have something special here in the Valley when it comes to literature. To be a writer here or even be a writer visiting here, there is an energy that is inescapable because there is always something going on because people are passionate about sharing their work. So, to spend a few days around people who really care about their craft is going to be amazing, I get stoked to see people work so hard on something. It’s awesome. I’ve also heard the food is pretty good, so that will be a treat.

Any final thoughts?

I would just like to give a big thank you to Geoff Carter, who has helped me figure this new role out, as well as the UWEC Office of Research and Sponsored Programs for allowing me to take on this role. Without the help of these two, I would not be able to do what I am looking forward so much to do, and I am very grateful. With all that being said, I am excited to help make these residencies as helpful, fun, and impactful as they can be. See you all this summer!

Writer Rites of Passage: AWP

By Eric Rasmussen

A writer’s journey is full of milestones. The first draft of a first novel. The first rejection. The one-hundredth rejection. The first publication. These events are shared in common with everyone who has attempted to produce words that others may want to read. Like getting a driver’s license or graduating from high school, they not only function as necessary steps on the way to maturity, mastery, and fame, but also as symbols of all the work it takes to hone your craft and produce quality writing.

I ended up in the second-to-last row of seats on my flight to Tampa, and before the engine noise made talking impossible, I overheard the three women chatting in the row behind me. Two of them were writers heading to the Association of Writers and Writing Programs conference (AWP) like me, and the third passenger, sitting in the middle, had no idea what she had gotten herself into. At one point this non-writer asked, “So, what are you each working on?” One of the authors commenced describing her collection of environmental poetry, after which the other detailed her memoir about growing up on a farm. During a lull I glanced backwards to make some funny (dumb) comment about writers, and in doing so, my awkwardness completed our version of the AWP writer stereotype, because this exact scene was simultaneously occurring on hundreds of planes bound for central Florida. We even looked the part—me in an ironic t-shirt, the environmental poet in wild bright colors and tattoos, and the rural memoirist in full librarian garb, with thick glasses and sensible shoes.

The Association of Writers and Writing Programs conference (AWP) is an annual event that attracts about 12,000 writers and publishers, and it is a fascinating and draining endeavor that supports the community of writers across the country, offers sometimes-elusive rewards, and, at the very least, adds an impressive number of steps to attendees’ pedometers. AWP hosts its conference in a different city each year, so traveling there becomes a mini-vacation, with meals out, parties and readings every evening, and the enjoyment that comes from spending several days with people who share common interests.

There are several types of writing excursions, and each offers different advantages for a writer’s travel time and dollars. AWP is not workshop-focused, like traditional writing retreats and residencies. AWP also differs from smaller, regional writing conferences (like Madison’s Writers’ Institute, for example) in that its size does not allow for an emphasis on connecting individuals with agents and editors. Plenty of literary journal and small press editors are present at AWP, but it’s more of a free-for-all. A giant room (the Bookfair) hosts hundreds of publications and writing programs, each at their own table, where writers can network and make connections. AWP also offers hundreds of presentations from writers, editors, agents, and other industry professionals, each of which is attended by dozens to hundreds of hopeful wordsmiths.

AWP is enormous and unwieldy and it’s where most of the literary publishing industry gathers to examine itself. Walking around the Bookfair, I saw what I observed on the plane, times ten-thousand: every writer stereotype imaginable trying to awkwardly talk to each other, hoping each contact will spark a relationship that produces some future writing or publishing opportunity. Some hate these types of interactions, others relish in them, and everyone goes home hopeful about some connections and disappointed in others. Everyone also goes home with a large (and heavy) stack of books procured from the Bookfair.

Sometimes it’s hard to judge our progress towards our goals. Most high school graduates wake up the day after graduation not feeling any different, but that’s the nature of rites of passage. On Saturday, before departing for the airport to head home, I had lunch in a quiet café in downtown Tampa and tried to reflect on my first AWP. I met lots of people, and connected with many friends. I spent three days thinking of nothing but my writing. I saw George Saunders’ driver waiting for him at the airport, and I visited Tampa’s aquarium. If the airline fees and personal days didn’t yield any measurable outcomes, they definitely produced some great memories and the fact that I am now the level of writer who has been to AWP.

Next year’s conference is in Portland. Maybe I’ll see you there?

Click here to read more of Eric's work!

Great Grub Awaits At Cirenaica!

No writing retreat is complete without a bit of gluttony.  At Cirenaica, we’re happy to accommodate by way of 9 chef-prepared meals at each retreat!  This summer, we’re proud to welcome chefs Michelle Thiede and Kristen Dexter, co-owners of FORAGE, to the Cirenaica team.  They’re bringing their cooking skills out to the lodge to ensure that we’re all always well fed. 

They agreed to give us a little taste (get it?) of their tentative menu.  Warning: you will be hungry after reading... 

The tentative menu includes:

• Lazy Monk Smoked pork country style ribs

• Farmers market grilled vegetables

• Herb roasted fingerling potatoes

• Mason jar watermelon feta salad

• Pulled buffalo chicken sandwiches 

• Fingerling potato salad,

• Crudité with bleu cheese dip

• Lemon caper grilled salmon

• Grilled asparagus

• Cheese and red pepper risotto

• Chilled corn soup

• Red pepper purée tortilla strips

• Gazpacho

• Baked cheese crostini

• Caprese salad 

• Pepper crusted tenderloin

• Shrimp cocktail

• Parmesan grilled cauliflower

• Fresh strawberries, pound cake and whipped cream

• Fresh baked scones,

• Banana nut pancake muffins

• Fresh fruit with berry yogurt dip

• Mini broccoli cheese egg cups

• Smorgasbord with meat, cheese, hummus, spreads

• Quinoa grain bowl with roasted veggies and…

I could go on...

Are you hungry yet?  What are you waiting for?  Nurture your stomach and your soul today! 

What’s the Tuning Protocol? The Strategy That Might Just Changing Your Writing Life

by Katie Venit

Confession: revising is my favorite part of writing. I love chipping away detritus to uncover a story’s themes and motifs. I love giving and getting feedback. When group members share their insights on my story, I can finally see what I’m missing. 

Confession: I stink at giving feedback. Constructive feedback is easy for me; I always want to hear what parts of my story didn’t work so I can improve, and I (incorrectly) assume the same for others. In my enthusiasm for improvement, I forget to mention the 95 percent of the draft that I loved. But knowing what does work is just as helpful as knowing what doesn’t. 

At the most basic level, the Tuning Protocol is a structured path to give everyone positive feedback and constructive criticism. (Protocols are highly structured activities.) Each group member offers warm feedback (something they liked). Although subsequent members can agree with those who came before them, each member has to say something original. Repeat the process with cool feedback (constructive criticism). The key is that the warm and cool feedback are not diluted. In other words, warm feedback shouldn’t be lukewarm. 

After all the rounds of feedback, the writer can weigh in. Perhaps she explains her reasoning behind an unpopular section, and the group can work through it together; perhaps she asks follow up questions. Finally, the writer reflects on the experience and identifies her next steps. 

Variations

• The writer can either stay silent through the feedback round or engage in conversation about the piece right away. Silence helps if your group has difficulty staying on task, but it’s not necessary. 
• Consider setting a time limit for each person if you have a lot of pieces to get through, or if you have loquacious members.
• Reviewers can offer additional feedback other than warm and cool. For example, they can also comment on their emotional response to the piece, where that emotional response was interrupted, parts where they were confused, what they think the overall theme, message, or feel of the piece was, etc. Speaking from experience, feel can be an interesting topic: what the writer may have intended as positive could be perceived as something else entirely.
• The writer can ask a specific question about the piece, and each reviewer can answer that question.
• Distance variation: This works very well in an online community; reviewers already have the floor to say what they have to say. Maintain the structure of separate warm and cool feedback. 

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.