Category Archives: Fall 2021 Workshops

WRITE, REVISE, PUBLISH! Flash & Microfiction Practice, Taught by Cleaver Senior Flash Editor Kathryn Kulpa, October 24 to November 21. [SOLD OUT]

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WRITE, REVISE, PUBLISH!
Flash & Microfiction Practice
Taught by Cleaver Senior Flash Editor Kathryn Kulpa
4 weeks: Sunday, Oct. 24 to Sunday, Nov. 21
Mostly asynchronous with one weekly Zoom meeting:
Sunday, October 24 – Intro; 11 am
Thursday, November 4, 6:30 pm
Sunday, Nov. 7, 11 am
Thursday, Nov. 18, 6:30 pm
$200
Class limit: 12
Questions: [email protected]

SOLD OUT

Do you tend to procrastinate? Do you often do your best work under pressure? Do you sometimes start stories but never get around to finishing or revising them? Do you find the whole process of submitting work for publication stressful or depressing?

This four-week workshop is designed for busy writers who want to put writing time and accountability into their schedule with a combination of online prompts, real-time writing sessions, constructive revision suggestions, submission tips, and a group of writing buddies willing to take the submission plunge with you. We will focus on short flash (up to 500 words) and microfiction (up to 400 words). The first two weeks, we will work on generating new stories; in the third week, we’ll focus on revision; and by the fourth week, everyone will commit to submitting three stories for publication (as your classmates cheer you on).

Kathryn Kulpa, THE ART OF FLASH; AFTERBURN; FLASH BOOTCAMP; WRITE, REVISE, PUBLISH!, (flash fiction and nonfiction) was a winner of the Vella Chapbook Contest for her flash chapbook Girls on Film (Paper Nautilus) and has had work selected for inclusion in Best Microfiction 2020 and 2021 (Pelekinesis Press).  Her flash fiction is published or forthcoming in Flash Frog, 100 Word Story, Monkeybicycle, Smokelong Quarterly, and Wigleaf, and she serves as chief flash editor for Cleaver Magazine. Kathryn has been a visiting writer at Wheaton College and has led writing workshops at the University of Rhode Island, Stonecoast Writers Conference at the University of Southern Maine, Writefest in Houston, Texas, and at public libraries throughout Rhode Island.

Masterclass in Visual Narrative Memoir with Cleaver Visual Narrative Editor Emily Steinberg, October 2 to November 6, 2021

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Visual Memoir
VISUAL MEMOIR
Masterclass in Visual Narrative Memoir
with Cleaver Visual Narrative Editor Emily Steinberg
6 weeks
Zoom meetings Saturdays 12:00-2:00 ET, 10/2, 10/9 , 10/16 , 10/23 , 10/30, 11/6
$300 
Class limit: 12
Register Now
Visual Narrative, both ancient and of the moment, is a powerful and unique way of storytelling that employs words and images to maximize the communication of thoughts and ideas. 
Join Cleaver Visual Narrative Editor Emily Steinberg this fall for a 6-week advanced workshop in visual narrative memoir. Bring a project you are already working on or one you have been wanting to dive into for a long time. This class offers creative community and feedback for students looking to deepen their craft and move to the next level. All visual mediums are welcomed including drawing, video, collage, photography, and anything else you can think of. 
Bring your curiosity, enthusiasm, and a desire to find out what happens at the intersection of words and images.
Emily Steinberg, MFA, is a multi-disciplinary artist with a focus on painting and comics and serves as Cleaver’s Visual Narrative Editor.  Her work has most recently been published by The New Yorker Magazine and is included in Menopause: A Comic Treatment, which won the Eisner Award for Best Comics Anthology, 2021. Since 2013, her visual narratives have been regularly published in Cleaver Magazine. Her memoir, Graphic Therapy, was published serially in Smith Magazine. Steinberg is a lecturer in Fine Arts at Penn State University, Abington College, and Artist in Residence Drexel College of Medicine where she teaches visual narrative to medical students. 

THE WRITING LAB: Playful Experiments to Unstuck Your Writing, taught by Tricia Park, Oct 3 – Nov 14, 2021

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THE WRITING LAB:
Playful Experiments to Unstuck Your Writing
Taught by Tricia Park
A 6-week Generative Writing Boost
6 weeks: Oct 3 – Nov 14
Mostly Asynchronous with two Zoom Meetings:
10-11 am ET on Sunday, Oct 3 and
10-11 am ET on Sunday, Nov 14
$300
Class Limit 12
Questions: [email protected]

“Hope begins in the dark, the stubborn hope that if you just show up and try to do the right thing, the dawn will come. You wait and watch and work: you don’t give up.”

—Anne Lamott

Register Now

Stuck in a writing rut? Don’t know how to get started? Together, we’ll give ourselves permission to start where we are, with curiosity, no matter how stuck we may feel. In this class, we’ll discover the “play” of writing, with prompts and generative exercises that’ll get you unstuck and boost your writing practice into high gear.

THIS CLASS IS OPEN TO WRITERS OF ALL LEVELS AND GENRES. In this workshop, we’ll generate new writing through exercises and assignments; provide and receive feedback on writing you produce in our workshop. We welcome new and experienced writers, who are looking for structure, guidance, and support with your writing practice.

This class offers weekly deadlines and assignments but you can work at your own pace and on your own time—there are no required meetings (although we may have an optional Zoom check-in or two to provide additional support and inspiration.)

What you’ll get in this class:

  • Gently intriguing prompts to jumpstart your creativity
  • Reading and discussion of texts by inspiring writers.
  • A safe and supportive environment to cultivate your writing.
  • Small, clearly defined weekly assignments to keep you motivated.
  • New writing that you can continue to nurture and grow at home.

 

Each week, we’ll explore exercises/prompts that I hope will generate work that will surprise and delight you. We’ll also read and discuss texts that I’ll provide for you as examples to emulate and prompt new writing. Most importantly, I am looking forward to the community we’ll create together so that you may feel free to loosen up and take new, playful risks in your writing.

There will be space to share your work and receive feedback on your writing. I’ll provide clear guidelines for constructive feedback on new and early drafts. The focus of this class is to develop your practice and generate new writing!

If possible, I encourage you to write long-hand for your generative work and then transcribe to the Canvas discussion board but a laptop or tablet is also fine.

Note: The Canvas platform works best with the Chrome and Firefox browsers. If you are experiencing technical difficulties in Safari, try accessing the class in a different browser. There is also a Canvas Student App available through Apple or Google Play.

CLASS OVERVIEW:

Week One: Getting Started

Natalie Goldberg advises, “Whether you’re keeping a journal or writing as a meditation, it’s the same thing. What’s important is you’re having a relationship with your mind.” Getting started is often the hardest part. We’ll answer prompts to remind ourselves that writing is just thinking out loud and that we already do it every day.

Week Two: Freewriting and Playfulness

Elizabeth Gilbert writes, “I made a decision long ago that if I want creativity in my life – and I do – then I will have to make space for fear, too.” We’ll find ways to move through resistance as we approach our writing with playfulness and curiosity. We’ll dive into freewriting and whimsical exercises/prompts.

Week Three: Using our Senses

Maya Angelou reminds us that “once you appreciate…one of your senses, your sense of hearing, then you begin to respect the sense of seeing and touching and tasting, you learn to respect all the senses.” Sensory details infuse our writing with richness and dimension. We’ll respond to prompts that encourage us to take in our surroundings and connect with our senses.

Week Four: “Gaming” our Writing

In this class we will explore ways we can “game” our writing, approaching it obliquely with a light-hearted touch. We’ll see how prioritizing “play” through constraints and rules can, paradoxically, free up our writing.

Week Five: Following Our Obsessions

We all have core obsessions that keep us up at night, occupying our minds in a constant and regular way. Why not put our obsessions to good use? Rather than controlling our fascinations, we’ll channel them into our writing.

Week Six: Writing Down Memory Lane

Lois Lowry says, “I’ve always been fascinated by memory and dreams because they are both completely our own. No one else has the same memories. No one has the same dreams.” We’ll delve into our unique memory banks to mine our past and present, generating writing that is bound to surprise us.

Tricia Park Author PhotoTricia Park is a concert violinist, writer, and educator. She is a music graduate of The Juilliard School and received her MFA in writing at the School of the Art Institute of Chicago. Tricia is a  Fulbright Grant Awardee in Creative Writing and currently resides in Seoul, Korea, where she’s working on a literary and musical project. Her writing has appeared in Cleaver Magazine and F Newsmagazine. She was also a finalist for contests in C&R Press and The Rumpus. Since making her concert debut at age thirteen, Tricia has performed on five continents and has received the prestigious Avery Fisher Career Grant. She is the host and producer of an original podcast called, “Is it Recess Yet? Confessions of a Former Child Prodigy.” Tricia has served on faculty at The Juilliard School, the University of Chicago, and the University of Iowa. She has taught creative writing for the Iowa Summer Writing Festival at the University of Iowa and is on faculty for Cleaver Magazine, where she teaches writing workshops and is a Creative Non-Fiction editor. She is the co-lead of the Chicago chapter of Women Who Submit, an organization that seeks to empower women and non-binary writers. Tricia also maintains a private studio of violin/viola students and writing clients.  Learn more about Tricia and listen to her podcast at: www.isitrecessyet.com. Listen to Tricia play violin at: https://www.youtube.com/c/triciapark

REVISING *IS* WRITING: Unlocking the Creative Potential of Self-Editing in Creative Nonfiction, a Master Class in Craft by Lise Funderburg, Sunday November 21, 2021

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REVISING *IS* WRITING:
Unlocking the Creative Potential of Self-Editing in Creative Nonfiction
A Master Class in Craft
with Cleaver Creative Nonfiction Editor Lise Funderburg
Sunday, Nov 21, 2021, 12-pm to 2 pm ET
$50
Class limit: 18
Questions: [email protected]

Register Now

The unsung hero of the creative process is revision, but the aversion to it that so many of us feel can be laid at the feet of most of our experiences of formal schooling, wherein NO ONE ever showed us how to engage with work past the first draft. In this technique-based master class, Lise will teach you strategies and practices that will take your creative nonfiction projects from their jumbled beginnings to polished, publishable gems.

Lise Funderburg HeadshotLise Funderburg’s latest book is Apple, Tree: Writers on Their Parents, a collection of all-new work by twenty-five writers, which Publishers Weekly deemed a “sparkling anthology” in its starred review. Previous books include the memoir, Pig Candy: Taking My Father South, Taking My Father Home, and the recently reissued collection of oral histories, Black, White, Other: Biracial Americans Talk About Race and Identity. Her work has been published in the New York Times, TIME, the Philadelphia Inquirer, The Nation, MORE, Chattahoochee Review, Oprah Magazine, and Prevention. Lise has been awarded residencies at the Civitella Ranieri Foundation, MacDowell, Thurber House, and Blue Mountain, among others, and she won a Nonfiction Fellowship from the Pennsylvania Council on the Arts. She teaches creative writing at the University of Pennsylvania and teaches at the Paris Writers’ Workshop.

Crafting a Great Personal Essay, taught by Lise Funderburg, October 10-31, 2021 [SOLD OUT]

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Crafting a Great Personal Essay
Taught by Cleaver Senior Nonfiction Editor Lise Funderburg
4 Weeks
October 10-31
Synchronous with asynchronous writing assignments
12-pm to 3 pm ET on Sundays, October 10, 17, 24, 31
$200
Class limit: 12
Questions: [email protected]

SOLD OUT

Writing from personal experience is always a double-edged sword in Creative Nonfiction: on the one side, we have almost limitless access to material. On the other, familiarity often breeds blind spots, cheating the work of dimension, resonance, and narrative drive. In this generative and reflective series of workshops, we will build strategies and craft practices that help you to hone your personal essays/memoirs until they shine.

SYLLABUS

In addition to the time we’ll have together in Zoom, expect to spend 2-3 hours each week on readings and writing assignments. And while it is not detailed below, there will be many opportunities to give and receive feedback on the work everyone creates for the class.

Week One: What Makes A Great Personal Essay Great?

We’ll start off by sharing and dissecting several short personal essays from great practitioners of the craft. This will help everyone identify the components and potential of personal essays, and at the same time, amass an arsenal of strategies and techniques to experiment with in your own work. With explicit guidance and writing prompts, you’ll also have the chance to generate your own material.

Week Two: Experimenting with Form

Any essay can be lyrical, but not all essays can be lyric. Lyric refers to approach and form: generally speaking, lyric essays push past conventional boundaries by enlisting formal aspects of poetry and unusual structures. Examples include Braided essays, Collage essays, and this week’s celebrity guest star, The Hermit Crab essay. This week we consider the essay’s exoskeleton, the way a writer’s choice of form creates possibilities and limitations. You’ll have several exemplary short essays to read, all of which use recognizable, conventional modes of communication….then subvert them through unlikely content. After that, you’ll have a go at it.

Week Three: Revising Your Way to Greatness

We’ll have an in-class freewrite, of course, but beyond that, this week is all about strategies for revision, methods and action steps and critical-distance-creating exercises that are meant to refresh your perspective on the work at hand and offer new ways of accessing it, even after you’ve read it over for the umpteenth time.

Week Four:

In this, our final week, you are asked to look both behind and ahead. You’ll consider where you are in your writing practice and how it’s grown, some of which will be made evident in a supersized workshop. You’ll also create a plan of attack for what to do next and how to keep your creative engine running.

Lise Funderburg HeadshotLise Funderburg’s latest book is Apple, Tree: Writers on Their Parents, a collection of all-new work by twenty-five writers, which Publishers Weekly deemed a “sparkling anthology” in its starred review. Previous books include the memoir, Pig Candy: Taking My Father South, Taking My Father Home, and the recently reissued collection of oral histories, Black, White, Other: Biracial Americans Talk About Race and Identity. Her work has been published in the New York Times, TIME, the Philadelphia Inquirer, The Nation, MORE, Chattahoochee Review, Oprah Magazine, and Prevention. Lise has been awarded residencies at the Civitella Ranieri Foundation, MacDowell, Thurber House, and Blue Mountain, among others, and she won a Nonfiction Fellowship from the Pennsylvania Council on the Arts. She teaches creative writing at the University of Pennsylvania and teaches at the Paris Writers’ Workshop.

VOICE LESSONS Identifying and Creating Perspective in Poetry, taught by Claire Oleson, October 16 – Nov 20, 2021

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VOICE LESSONS
Identifying and Creating Perspective in Poetry
Taught by Cleaver Senior Poetry Editor Claire Oleson
October 16 – Nov 20
Asynchronous with optional Zoom meetings 11 am ET on Oct 23,30 and Nov 20
$200
Questions: [email protected]
Class Limit: 14

Register Now

In this course, we will plunge into the murky waters of what is meant by “voice” in poetry. Each week, we will look at two to three poems by a single poet and investigate how they bring something of the same perspective, tone, specificity, and selfhood to different poetic projects. In light of this investigation, participants will be invited to work on their uses of voice in their own poetry. This class is designed to create a platform on which to find, develop, and hone the connective tissue between different works by the same writer. For five weeks, participants will be encouraged to find themselves within their language and explore the ways in which they may take on an identifiable style while maintaining flexibility across different pieces.

We will work primarily on generating new work, encouraging participants to push their boundaries and hone their voice to create memorable and authentic work. The workshop model will facilitate constructive responses from both peers and the instructor. Particular attention will be placed on the spaces between poems that the participants bring to class.

We will read a few selections of poetry weekly that demonstrate the application of different uses of voice in poetry. By the end of the course, participants will have a better handle on how and where their voice exists in their own work, allowing for more intention and awareness of its application. Far from considering poems as singular revelations in a void, this class is one that is fundamentally about context. Inevitably, we bring our lives and ourselves to the page when we might not mean to: how can we begin to do this with consciousness, control, and thought to how our poems talk to each other?

The readings will be brief but rich, with the intent of inviting multiple re-readings, close readings, note-taking, and flexibility for everyone’s lives and work. Supplemental reading will be available for those hungry for more plums from the proverbial icebox. Prompts will be provided inspired by the week’s reading, but will be designed more as springboards for beginning rather than hard-and-fast regulations. Work will be submitted weekly for peer and instructor review. One piece will be chosen by the student for revision for the final class. Optional Zoom conferences will be held to discuss the reading for those interested. We welcome both new and experienced writers looking for motivation, structure, and constructive criticism.

A final optional Zoom meeting will be held as a reading of our work.

Instructor Bio

Claire OlesonClaire Oleson is the winner of the 2019 Newfound Chapbook Prize and a graduate of Kenyon College, where she studied English and Creative Writing. She has participated in graduate writing workshops with the Kenyon Review, where she also worked for the entirety of her undergraduate career. She has worked as a TA for Northwestern University’s summer creative writing courses. Her work has been published by the Kenyon Review online, the University of Kentucky’s graduate literary journal Limestone, the LA Review of Books, and Sugar House Review, among others. She currently serves as the poetry editor for Cleaver and lives and works in NYC.

 

Schedule (October 16 – Nov 20)

New Modules posted on Mondays,

Pieces due by Friday, 11:59,

Feedback from All Due by Sunday, 11:59

Optional Zoom sessions on Saturdays at 11 am ET

SYLLABUS

1: Introductions: What is voice?

We will open with an investigation of what “voice” means and how its both employed (and oftentimes, entirely ignored) in poetry. This week will focus on learning to see how the voice of a poet can be seen across different works of theirs that have totally different goals, but still carry the same author in their stanzas.

2: Joy and Grief

We will take a look at how the same poet approaches heartbreak and celebration. We will explore what places change and what uses of language and mood are maintained between two different emotional extremes captured by the same artist.

3: The Picture and the Lecture

This module will invite an analysis of poems that “show” and poems that would rather drag out their soap box and have you sit down, no pictures included. We will ask how the same voice illuminates the imagistic and the didactic and what survives or dies off between these modes of communication.

4: Caged and Free-Range

In this second to last week, we will dive into two poems: one that embraces a strict form and one that shirks most formal elements in favor of free verse. We’ll ask what it looks like to dress a voice in constraints and what it might mean to let it lead itself, and the language, on instinct and whim.

5: A New Tone

In this final module, we will take a moment to look at pieces by an author that look completely different in both project and voice by the same poet. This week, participants will be invited to make work that encapsulates something totally outside the voice they’ve begun to develop, allowing both the use of voice, and its absence, to become intentional.

 

TELLING STORIES OF DISABILITY AND ILLNESS taught by Michelle Hoppe, October 7-28, 2021

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TELLING STORIES OF DISABILITY AND ILLNESS
A Generative Open-Genre Course
4 Weeks October 1 to 29th
Zoom meetings Thursdays October 7, 14, 21 28 at 7:30-8:30 pm ET
$200
Class limit: 12
Questions: [email protected]

Register Now

“Illness is a part of every human being’s experience. It enhances our perceptions and reduces self-consciousness. It is the great confessional; things are said, truths are blurted out which health conceals.”―Virginia Woolf, “On Being Ill”

How do we represent our community while building community? How do we confront ableism in literature? When can we be better practitioners of the disability and chronic illness narrative?

In this workshop, we’ll interrogate the ways illness has been used as a trope or misrepresented in literature (think Jane Eyre) to the ways we have and are moving toward a less ableist representation of disability (think “His Last Game” by Brian Doyle). We’ll explore the ways disabled lives are being featured and honored in literature today, including works by major authors like Alice Wong, Maysoon Zayid, and Temple Grandin and emerging writers.

Week One: A brief discussion of the history of ableism in literature. Generative poetry prompts.
Week Two: We’ll use evidence-based research to enhance and elucidate the disability narrative. Generative essay prompts.
Week Three: Internalized ableism. What is it? What does it look like in a work of literature, and how can we confront and interrogate it? Generative fiction prompts.
Week Four: Workshop day. Where to submit. Book and column recommendations. Eclectic and multimedia generative prompts.

Each week we’ll read together, respond to prompts, and participate in both peer workshops (asynchronous through Canvas), and discussions (synchronous through Zoom on Thursday.) Students will also revise one essay/poem/short story with instructor feedback. We welcome both new and experienced writers, anyone identifying as disabled or chronically ill, or anyone looking to write about illness and disability. Personal disclosures of illness and disability are neither required nor discouraged. We hold everything disclosed in class as confidential, and workshop members will be asked to affirm a confidentiality statement.

“Storytelling can be more than a blog post, essay, or book. It can be an emoji, a meme, a selfie, or a tweet. It can become a movement for social change.”
― Alice Wong, Disability Visibility: First-Person Stories from the Twenty-first Century

Michelle Renee Hoppe’s special education teaching outcomes helped to win court cases against the NYCDOE. She holds a partial MSED in special education and is a candidate for an MA in TESOL from MIIS. As founder and creative director of Capable Magazine, Michelle publishes stories of disability and illness. For twenty years, she has created scholarships for disabled students, authors, and artists to attend workshops and seminars. Her writing appears in Saw Palm, Cleaver Magazine, and South 85 Journal, among others.

Michelle lives with bipolar disorder, complex trauma, and celiac disease. She holds disability disclosure as sacred and individual.

PITCHING YOUR ESSAY, taught by Claire Rudy Foster | October 10-24, 2021

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Pitching Your Essay decorative poster
PITCHING YOUR ESSAY
taught by Claire Rudy Foster
3 Sunday Zoom Sessions
October 10, 17, and 24 at 4 pm ET
$200
Class limit: 12
Questions: [email protected]

Register Now

The pitch letter is a writer’s calling card, providing the all-important first impression on editors. Good pitches stand out in the slush, signaling that you’re talented, professional, and ready to work with them. Bad ones rarely get a second chance. Even talented, bright writers get rejection letters when their pitch letters don’t reflect their abilities. If you’re tired of hearing “no,” a great pitch can be the key to the “yes” you’re hoping for. This class is designed for any writer who seeks publication: no homework or outside assignments, and no previous publication credits required.

Good pitching etiquette opens doors for writers and can lead to better bylines and bigger rates. If you write to publish, pitching is an important skill to have—one that is rarely taught in writing programs and MFAs. This class will teach you to avoid landmines and resolve issues that all writers contend with. How do you get an editor interested in your work? How do you sell your great idea without sounding pompous or unprofessional? How do you decide which editor to pitch to on a masthead? What do you do if you don’t have industry connections? Rather than guess, this class will help you prepare for the all-important pitch.

Week one: What do I have to offer?

Week two: Who’s a good fit for my writing?

Week three: The perfect pitch

During class, writers will build confidence in their pitches as they craft an all-purpose pitch letter that is adaptable and versatile. We will discuss our writing from a business angle and learn to understand what editors are looking for in a pitch. This workshop is taught by author Claire Rudy Foster, who publishes an average of 200 articles, stories, reviews, and essays per year. Foster also reviews pitches as Senior Features Editor for The Rumpus and is a veteran slush pile reader.

Claire Foster Rudy headshotClaire Rudy Foster is an award-winning queer, nonbinary trans author from Portland, Oregon. Foster’s critically acclaimed short story collection Shine of the Ever was an O: The Oprah Magazine pick for 2019. Their essays, fiction, reporting, book reviews, and other writing appear in The New York Times, McSweeney’s, Allure, on NPR, and many other places. Foster is Senior Features Editor at The Rumpus. They still believe in the power of well-written sentences.

WEEKEND WRITING with Andrea Caswell | Ongoing Sunday Morning Series

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WEEKEND WRITING
for practice and inspiration
open to all levels and genres|Taught by Cleaver Editor Andrea Caswell

Three-week sessions, Sundays 10:30 am – 12:00 pm ET
Session 1: September 12, 19, 26
Session 2: October 3, 17, 24
Session 3: November 7, 14, 21
Session 4: December 5, 12, 19
Cost: $100 per session
Class limit: 12
This class can be repeated monthly (re-registration required).
Questions: [email protected]
Register NowWEEKEND WRITING is a generative writing session for writers of all levels and genres. Enjoy this 90-minute writing retreat as we read and discuss short prose, experiment with optional prompts during in-class writing time, and nurture a personal writing practice rooted in curiosity and creativity. Whether you want to build structure into your writing week or simply play in your notebook, you’ll enrich your weekend with other writers in a motivational and supportive setting.

“How we spend our days is, of course, how we spend our lives. What we do with this hour, and that one, is what we are doing.” ~Annie Dillard, The Writing Life

The class can be repeated as many times as you like.

What you’ll get from this class:

– Real-time meetings with your instructor and fellow writers

– Reading and discussion of short inspirational texts

– Dedicated in-class writing time in each meeting

– Optional prompts that invite experimentation and discovery

– Consistency in building a personal writing practice

– A safe and supportive writing community

“I found Andrea’s creation of a ‘gentle accountability,’ as she once put it, very effective.”

“I really appreciate writing in community without the pressure of sharing or workshopping. For me, it’s most important to get my butt in the seat and keep it there, and this 90 minutes each week feels sacred and protected.”

Andrea Caswell ‘s writing has been published widely in print and online. Her work appears or is forthcoming in Tampa Review, River Teeth, The Normal School, Columbia Journal, Atticus Review, and others. She holds a master’s from Harvard University and an MFA from the Bennington Writing Seminars. She’s a fiction editor for Cleaver Magazine, and is the founder of Lime Street Writers, a monthly workshop north of Boston. In 2019 she was a fiction contributor at the Sewanee Writers’ Conference. A native of Los Angeles, Andrea now lives and teaches in Newburyport, Massachusetts. Contact her at www.andreacaswell.com.

Write Where you are