Do you have an idea for a children’s book? Maybe you have thought: I’ll write it someday. Well, make that “someday” today! Join us for Oh, The Places You Can Go!, a retreat with children’s book writing coach Esther Hershenhorn.
Wherever you are with your work, you are welcome.
When: April 21-23, 2017. We’ll open with a meet-and-greet reception at 4pm Friday afternoon and end by noon Sunday.
Where: Haley Farm Inn and Retreat Center, a gorgeous spa and retreat center in the serene region of Western Maryland, just minutes away from Deep Creek Lake (3 hours from Washington, D.C.). Need a carpool from Reagan National Airport? Let us know!
Instructor and Description: Esther Hershenhorn will introduce you to the Children’s Book World and offer rules of the road to make navigating that world doable and easy. She will guide you toward your next steps. More importantly, she’ll connect with retreat writers one-on-one, heart-to-heart, so your story can eventually do the same with readers. A die-hard Cubs fan who knows the value of heart, hope, faith and perseverance, Esther teaches at the Writer’s Studio at the University of Chicago Graham School and at Chicago’s Newberry Library. To learn more about Esther Hershenhorn, her books, and how she works with (and cares for) her writers, go here.
Cost: $375 for the workshop only. $789 for the workshop plus two nights lodging at Haley Farm and all meals. Lodging is single occupancy with a private bath. Meals are organic and homemade. There will be optional meditation and yoga classes.
Cancellation Policy: The deposit of $200 is nonrefundable; however, you may transfer it if you can find someone to take your place or if there is someone on the waiting list. The balance is due March 1, 2017. After that date your funds cannot be returned.
Questions? Feel free to email me (the organizer) at jenny [dot] rough [at] jennyrough [dot] com. Hope to see you in April!
Sign up here:
As I sat in gridlock on the George Washington Memorial Parkway during my 45-minute morning commute into Washington, I looked out the window. There was a woman my age running along the Mount Vernon Trail. I longed to be outdoors — and vertical.
That moment last fall, when I was 42, marked the beginning of a change in my life that would give me more energy and better fitness.
To continue reading my article in The Washington Post about being a pedestrian commuter, click here.
When my book club picked this book I was a tad skeptical. I thought I knew what to expect: an entertaining, inspiring read with a feel-good message. A little too “perfect” for my taste. Or worse, an author who came across as perfectly imperfect. I wasn’t sure I’d like it—well, I loved it. Turns out, the book was funny, it had a fresh take on approaching creative ideas, it addressed how to handle frustration during the creative process, and it was eye-opening (people “murder their creativity by demanding their art pay the bills,” the author says). Take your art seriously, she adds, but don’t take it seriously. By the end, I was able to identify work that I’m ready to send into the world instead of tinkering with it for the millionth time. I was able to let go of stale ideas I’d been clinging to and make space for the ideas that are alive. For more good books and thoughts on nurturing your creative spirit, consider joining Roughly Speaking, my newsletter.
Write about the shoes you wore.
I was in a writing workshop, and that was our warm-up assignment. A stream of consciousness exercise.
“Shoes are fascinating,” the teacher said.
Shoes? Fascinating? Not to me, I thought. Unlike most women, I’m not crazy about shoes. Why shove my feet (the foundation of my body) into pointy-toed, 4-inch, ciggy-heel stilettos, known to cause bunions, hammertoes, and nerve pain? I feel similarly about platforms and peep toes, which are linked to other painful ailments. I scribbled all this down in my notebook … and kept writing. On second thought, maybe I did have something to say about shoes. My essay “Shoe Love” is running in the back page column of Modern Woman, on newsstands now.
* * *
Speaking of shoes, in her book Still Writing (a wonderful memoir on craft), Dani Shapiro suggests shoes as a possible way to begin a story. Shapiro writes: “Just the way we put one foot in front of the other as we get out of bed, the way we brush our teeth, splash water on our faces, feed our animals if we have animals, and our children if we have them, measure the coffee, put on the kettle, we need to approach our writing one step at a time. It’s impossible to evoke an entire world at the start. But it is possible to describe a crack in the sidewalk, the scuffed heel of a shoe. And that sidewalk crack or scuffed heel can be the point of entry, like a pinhole of light, to a story, a character, a universe.”
Well said. Now go ahead and pull out a pencil and paper and get to work. Write about the shoes you wore.
In the spring issue of Compose, a story about the day I met writer Abigail Thomas:
Abigail Thomas wrote about her socks. Of the books of hers I’ve read—all of which I adore—that’s the scene that sticks out most. She sat on the ground in a bookstore and changed out a pair of socks that didn’t match her new shoes. The socks were black with red peppers. Her writing captures ordinary life moments with such beauty and emotion that I’m compelled to keep turning pages.
A couple years ago, I traveled to Thomas’ hometown, Woodstock, New York, for a magazine assignment. I was writing about infertility (and going through it myself), and was attending a fertile heart workshop. Before I left, I typed out an email to Abigail introducing myself. I told her how much I enjoyed her writing style, and asked if she would meet me for coffee Monday morning. Then I agonized over whether to hit “send.”
I clam up around strangers.
I’m the type that skips parties in favor of staying home to read books.
When I make phone calls, my heart pounds, and I pray for voicemail.
A doctor, a therapist, a portfolio manager, and a writer walked into a bar.
(This is a true story, not a joke.)
The doctor shared compelling tales about life in the ER. Resuscitations and stomach pumpings. (By the way, it’s best to go to the emergency room at 7:05 a.m. or 7:05 p.m., right after the shift change when doctors are fresh. So next time you have appendicitis or cut off your finger, try to time it right.) The therapist had lots of great advice based on years of working with nutty patients. The portfolio manager had important (if not exactly thrilling) insights on investments. Finally, three heads turned toward the writer. They were dying to know about her day. What was it like to work on a book? On a magazine story?
The writer was me.
Being a writer sounds so romantic. I wanted to tell them my day was as they likely imagined: I went to a hip coffeehouse and pecka-pecka-pecka-pecked on my keyboard; words were flowing; my computer was smoking; I sent the piece off to an editor and it was accepted on the spot; look for it in next month’s issue of The New Yorker!
In reality, being a writer is not so glamorous. It can be infuriating, depressing, agonizing, and very, very slow. Coffeehouses are too loud. I cleared my throat and tried to explain a typical day: “Well, I sat at my desk, wrangled with sentences on the page for two hours, got up, went for a run, sat down, and wrote more pages. Then I ate a sandwich.”
It’s not unusual to work on something for weeks only to later scrap the material. I go through dozens of wrong drafts before I make my way to a right draft. It takes months, sometimes years, for a piece to make it from my laptop to print — if it makes it at all.
I have stiff hips and a permanent knot in my left shoulder. And my neck — I’m beginning to look like a flamingo. I love what I do (mostly). It’s all part of the messy creative process. To me, it is exciting. Then again, I also find organizing my bookshelf to be a rip-roaring good time. I like to organize books by color.
And there you have it: a day in the life of a writer.
Speaking of national parks, I’m reading Yellowstone Has Teeth. It’s about a couple who lived year-round in Yellowstone for a decade. The winters were brutal and isolating. This January, I got a teeny tiny taste of that kind of life when I spent a few weeks in the wilderness. It was cold and barren. Lonely. No bears or birds to watch. I plowed through Seasons 1, 2, and 3 of Downton Abbey. Ate a lot of soup. Skied (alpine and nordic). But most of the time, I hunkered down and worked on my book. Over the years, I’ve had to learn to write regardless of my schedule — crammed or empty. I do think it helps to separate and concentrate, although writing is hard either way. And no matter whether I’m in a public coffee house, at home, or secluded in the wilderness, it’s solitary work. The other day, I read an article about isolation written by a mother. She has four kids, yet feels removed and cut off. It was a good reminder that isolation isn’t always so obvious. And that it lurks in all sorts of lifestyles and vocations. Classes and workshops are a great way for writers to join together. I plan to take at least one class this spring and teach a couple this summer. After this polar vortex winter, it’ll be nice to emerge and connect.