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SUMMARY:The Joys and Pitfalls of Memoir
DESCRIPTION:This workshop will explore the hazards and rewards of writing a personal memoir. Throughout the eight weeks\, we will look at ways to produce a compelling narrative out of the chaos of the past. We’ll discuss the tremendous value of research\, but we’ll also consider whether research can sometimes handicap a project. We will explore the creation of a narrative voice. And we will ask if and how a writer knows that a memoir has achieved its ideal focus and shape. \n\n\n\nEach participant will be expected to produce one or two finished (or near-finished) pieces of writing. They could be either stand-alone essays or excerpts from a longer work. I will provide a detailed response to these pieces\, and other participants in the workshop will be asked to give their feedback too. A good portion of time each week will be spent on a discussion of the work submitted by participants. Throughout the workshops\, I plan to emphasize the crucial importance not just of remembering but of rethinking and rewriting.  \n\n\n\nIn the remainder of each session\, we will examine and debate issues that memoir-writing brings to the fore. We will delve into some thorny issues that memoirs often raise: the unreliability of memory\, an author’s urge to justify\, and the sense of hurt and betrayal that a memoir may provoke in other people. I will ask the participants to read selected materials (none of them too lengthy) as a basis for discussion.   \n\n\n\n“Memoir\,” for the purposes of this workshop\, can include small-scale personal essays as well as longer\, more ambitious texts. The participants may choose to focus on a particular relationship\, place\, or time. But the pieces they submit for discussion should all be personal in nature\, and unless there are unusual reasons to the contrary\, they should make use of the first-person pronoun. Memoir can be a demanding form; it allows the author no place to hide. Yet it can be immensely rewarding to write. \n\n\n\nThe overall aim is to equip participants with more awareness\, more skills\, and more confidence in their own work.
URL:https://qwf.org/event/the-joys-and-pitfalls-of-memoir-2/2023-03-15/
LOCATION:QWF Office\, 1200 Atwater Avenue\, Room 3\, Westmount\, QC\, H3Z 1X4\, Canada
CATEGORIES:QWF Workshops,Workshops
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SUMMARY:Counter Offence
DESCRIPTION:Set in 90’s Montreal\, Counter Offence tells the story of Shazia\, an Indo-Quebecois woman who finds herself caught in an abusive marriage with Shapoor\, an Iranian man grappling with complex parental problems\, and challenges of immigration. Things take a turn when Shapoor is arrested on domestic violence charges by Sgt. Galliard\, a white officer staunchly dedicated to preventing violence against women. Moolchand\, an Indo-Canadian anti-racist activist\, comes to Shapoor’s defense\, by accusing Galliard and the entire SPVM of racial bias. Clarinda Keith\, a Black social worker\, defends Galliard despite the police’s undeniable racism against people of colour\, in order to support the voices of vulnerable women. When suddenly a body is found\, everyone is a suspect as lines between what is right and wrong become blurred. Counter Offence explores multiple realities existing simultaneously\, and asks the question: how can one discover truth through conflicting narratives?
URL:https://qwf.org/event/counter-offence/2023-03-15/
LOCATION:Quebec
CATEGORIES:Community Events,Performance
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SUMMARY:The Ghost at the Heart of a Short Story
DESCRIPTION:A man down on his luck has moved everything he owns out onto his lawn\, and for no reason anybody can articulate\, he pawns some of it to two young passersby; in northern Ontario\, a woman whose cancer is in remission lets a teenaged boy\, half her age\, kiss her on a floating bridge—she doesn’t know why; in a hotel room in Wenatchee\, a man has a strange\, galvanizing sexual encounter with a bare-knuckle boxer\, and it leaves him more sure of himself\, or more sure of his past\, or more sure of who he might yet become. But if you asked him what had changed\, he wouldn’t be able to tell you. \n\n\n\nThere is something ineffable in every good short story\, something that cannot bepinned down\, a question—perhaps insignificant—whose answer is not merely unknown\, but unknowable\, and whose presence haunts us long after we’ve put a story down. \n\n\n\nThis workshop is a guided discussion about the plot\, characters\, point of view\, structure\, and language (the mechanics or “craft”) of participants’ short stories\, as well as an investigation of each story’s aboutness\, patterns\, emotional plot\, and central question(s)—that is\, all those hard-to-define elements that make fiction what it is. \n\n\n\nAdditionally\, the workshop aims to foster community among the attendees\, to bring together \n\n\n\nwriters of similar skill and drive\, and to encourage the kind of creative energy that crackles \n\n\n\nbetween new practitioners. \n\n\n\n Some Learning Objectives \n\n\n\n\nCritical reading\, and the ability to identify the roots of a story’s problems\, particularly with regard to dramatic structure and conflict. Conversely: the ability to identify the roots of a story’s successes\, especially when it seems intangible or difficult to pin down.\n\n\n\nClose reading\, even of your own work\, for strongest possible sentences. (They are\, after all\, the building blocks of fiction.)\n\n\n\nImmersing yourself in\, and engaging with\, literature among a cohort of people who are similarly immersed and engaged in literature; enjoying it.\n\n\n\n\nIn our first meeting\, we will establish a schedule\, review workshop etiquette\, spend some time meeting each other\, and do a few writing exercises. From then on\, each session will consist of detailed discussion and feedback of participants’ stories. The goal\, always\, is to offer the writer of each story constructive suggestions to help them improve the story and their craft. We are\, I always say\, in this together. \n\n\n\nIn preparation: Please bring a short story you’ve written of no more than 2500 words to the first session. \n\n\n\nD. W. Wilson is the author of Once You Break a Knuckle\, a collection of short stories\, and Ballistics\, a novel. His work has appeared in lit mags across the globe\, and in 2011 he won the BBC National Short Story Award for “The Dead Roads.” Since then he has been shortlisted for numerous fiction prizes\, and has won the CBC Short Story Prize and the Manchester Fiction Prize. He taught creative writing at the University of Victoria and Brandon University\, as well at literary festivals such as the London Short Story Festival and Wordfest.
URL:https://qwf.org/event/the-ghost-at-the-heart-of-a-short-story/2023-03-15/
LOCATION:QWF Office\, 1200 Atwater Avenue\, Room 3\, Westmount\, QC\, H3Z 1X4\, Canada
CATEGORIES:QWF Workshops,Workshops
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