Quebec Writers' Federation

The Playwright's Toolkit: Transferable Skills for Creative Writers
2026-12-07 05:30 - 20:00, 2026-11-30 05:30 - 20:00, 2026-11-23 05:30 - 20:00, 2026-11-16 05:30 - 20:00 (America/New_York) | QWF Office, 1200 Atwater Avenue, Room 3, Westmount, QC, H3Z 1X4, Canada
Whether or not you’ve caught the theatre bug, certain skills from the world of playwriting can serve you well in multiple forms of literary creation: well-developed characters; crisp yet believable dialogue; a sense of a story in forward motion…. With a blend of craft talks, readings, and viewings, and hands-on exercises in every class, veteran playwright and translator Leanna Brodie will unpack what writing for the stage can teach us about writing for the page.

Time, Space, Bodies: What Makes a Play? – After a brief introduction, we will dive right into exploring the basic elements of theatre. What separates playwriting from other kinds of creative writing, and what do they have in common?
Building Character – How do playwrights think about character? How is our thinking shaped by our relationship to actors and directors? When approaching character in your written form of choice, how might you benefit from an actor’s skill set as well as a playwright’s?
Firing Up Action – How do playwrights (and our screenwriting cousins) set up narratives that propel the audience forward? Where do our methods differ? And how can you adapt our best strategies to tell stories through the written word?
Crafting Dialogue – How do dramatic character, action, and dialogue shape each other, and how do poetry and humour influence them all? What’s the relationship between text and subtext? What does writing dialogue for actors have to teach us about writing dialogue for readers?
Wrapping Up – Final thoughts and questions. Writers will have an opportunity to share a 10-minute section of a piece they have been working on during this class, whether a dramatic scene or a literary form that makes use of theatrical elements such as characters and dialogue. We will also discuss resources for further exploration.

Once you have registered for this workshop, please send the following by email to john@qwf.org:

A brief writing-focused bio or resumé.
A brief description (around 100 words) of what you are working on these days… or would like to be working on.

The subject line should read “For Leanna Brodie.”
*This workshop will take place at the QWF Office (Room 3, 1200 Atwater Avenue, Westmount, Quebec) with up to 2 virtual spots for participants who are unable to attend in-person because of distance or disability. By default, all workshop registrations are for in-person spots. If you would like to request a virtual slot, contact John at john@qwf.org stating the reason for which you would need the virtual spot, then wait for a response before registering. Please do not register until you receive confirmation of a virtual spot for you.
Leanna Brodie is an award-winning, nationally-produced playwright. Salesman in China, co-written with Jovanni Sy, premiered in 2024 at the Stratford Festival and the National Arts Centre to great acclaim: the Globe and Mail called it “a brilliant new play, fully ready to take the world’s stages by storm.” Her modern Canadian classic, Schoolhouse, just received a major revival at the 4th Line Theatre. Brodie is also a leading translator of Québec and Franco-Canadian plays. She has taught playwriting at UBC, Concordia, and in workshops across the country. Awards: Playwrights Guild of Canada’s Tom Hendry Award (twice); Dora Mavor Moore Award; QWF Prize for Playwriting. www.leannabrodie.com

Narrative Non-Fiction: Creating Scenes
2026-12-02 17:30 - 19:30, 2026-11-25 17:30 - 19:30, 2026-11-18 17:30 - 19:30, 2026-11-11 17:30 - 19:30 | QWF Office, 1200 Atwater Avenue, Room 3, Westmount, QC, H3Z 1X4, Canada
Eight Wednesdays, Oct 7–Dec 2, 5:45–7:45 p.m. (no meeting Oct 28)
Open to all
Limited to 12 participants
Hybrid Workshop*
Narrative non-fiction took off in the 1960s, when writers like Tom Wolfe, Joan Didion, and Gay Talese started using the techniques of fiction writers to tell true stories. Sometimes called New Journalism, the genre exploded when fiction writers like Truman Capote and Norman Mailer switched over to non-fiction, attaining major critical and popular success. The ever-increasing demand for non-fiction writing highlights readers’ desire to connect with stories that make sense of their surroundings.
Narrative non-fiction blends reporting, research, and storytelling. In this workshop we’ll learn about how to write scenes that are true to life. Instead of simply stating what
happened, or recounting events chronologically, we’ll explore how to create a scene, as a screenwriter or novelist or non-fiction author might. Your task will be to impose a narrative on reality – and make it interesting to readers. We’ll talk about the techniques behind writing about your own experience, and about documenting other people’s lives. We’ll discuss what constitutes non-fiction – and what doesn’t. We’ll also speak about mining rich veins of source material from dusty old books, or weird scientific studies, or unusual academic treatises.
Each of you will be asked to present one piece of writing to the group, which will be workshopped by the group. (Participants will read and discuss each other’s writing.) I will also hand out some examples of narrative non-fiction to illustrate what it is we’re speaking about. These will also inform and inspire your own work in the workshop. No advance work is required for the workshop, but do have an idea of what you’d like to work on in our time together. In our second session, we’ll be discussing what each student plans on workshopping.
*This workshop will take place at the QWF Office (Room 3, 1200 Atwater Avenue, Westmount, Quebec) with up to 2 virtual spots for participants who are unable to attend in-person because of distance or disability. By default, all workshop registrations are for in-person spots. If you would like to request a virtual slot, contact John at john@qwf.org stating the reason for which you would need the virtual spot, then wait for a response before registering. Please do not register until you receive confirmation of a virtual spot for you.

Adam Leith Gollner is the author of The Fruit Hunters (a New York Times Editors’ Choice) and The Book of Immortality (recipient of The QWF’s Mavis Gallant Prize for Non-Fiction), as well as several collaborative books on nature, art, and literature. A contributing editor at Vanity Fair, and the former editor of Vice Magazine, his work has been published by The Paris Review, The New Yorker, GQ, and The New York Times. His forthcoming non-fiction book is the story of an amateur art sleuth who tracks down lost masterpieces—and who cracked one of the most confounding art heists in American history.
social media: @adamgollner

The Secrets of Writing Hit TV Series
2026-12-01 17:30 - 19:30, 2026-11-24 17:30 - 19:30, 2026-11-17 17:30 - 19:30, 2026-11-10 17:30 - 19:30 | QWF Office, 1200 Atwater Avenue, Room 3, Westmount, QC, H3Z 1X4, Canada
Eight Tuesdays, Oct 13–Dec 1, 5:45–7:45 p.m.
Open to all (application required—see below)
Limited to 12 participants
Hybrid workshop*
Do you have a brilliant idea for a TV show but no clue how to write a standout pitch document?
Do you have a strong pilot script but don’t know how to flesh it out into a long-lasting series?
Do you secretly think you’re the next Aaron Sorkin or Shonda Rhimes, if only you knew the keys to writing hit TV shows?
Then this workshop is for you.
Most TV writing courses focus on writing a pilot script. Mine starts one step earlier—because before you can write a great pilot, you need a great series concept.
Drawing on my 20+ years in the TV and film industry and my work as a writer, showrunner, development executive, creative consultant and mentor, I will teach you the essential building blocks of television writing and guide you through the process of developing your own original series.
Topics include:

Story engine, logline & hook
Series concept & theme
Characters & world
Pitching your show: on the page and in the room
Tips for writing a standout pilot
Building or advancing a career in television

Throughout the workshop, you’ll apply what you learn to your own project and you’ll receive ongoing feedback and guidance from me to strengthen your concept, sharpen your story engine, and create a professional pitch document—the blueprint for your series and an essential tool for pitching your show.
Applying & Preparing
To apply, please submit a logline and synopsis (1 page max) for the TV series you’d like to develop during the workshop.
There is no required reading for this workshop. However, I strongly encourage you to read a few articles on writing effective loglines. A logline is one of the most important tools in television development, yet it’s often overlooked or underestimated.
By the end of the workshop, “logline” will probably become your favourite—and most dreaded—word!

*This workshop will take place at the QWF Office (Room 3, 1200 Atwater Avenue, Westmount, Quebec) with up to 2 virtual spots for participants who are unable to attend in-person because of distance or disability. By default, all workshop registrations are for in-person spots. If you would like to request a virtual slot, contact John at john@qwf.org stating the reason for which you would need the virtual spot, then wait for a response before registering. Please do not register until you receive confirmation of a virtual spot for you.

Cynthia Knight is a writer, story editor, and showrunner with over 20 years of experience in film and TV. The co-creator and showrunner of the critically-acclaimed, award-winning comedy series Mohawk Girls (CBC GEM / Peacock), Cynthia was recently a consulting producer on the show My Dead Mom for Crave, a writer on the animated series By Bunny for Sphere Media, and she wrote the international co-production feature film The Otter Club, which just wrapped production in July, 2026. A former development executive for Attraction Images and Muse Entertainment, Cynthia is also a creative consultant and teacher who offers courses, talks, and workshops on TV writing in the US and Canada.
Webpage: https://cknightfilms.com
Social media handles:

https://www.facebook.com/cynthia.knight.393

https://www.instagram.com/cynthiaknightfilms/

The Art of the Braided Essay
2026-11-30 20:00 - 22:00, 2026-11-23 20:00 - 22:00, 2026-11-16 20:00 - 22:00 | Online via Zoom
Eight Mondays, Oct 5–Nov 30, 8:00–10:00 p.m. (no meeting Oct 12)
Open to all
Limited to 12 participants

Creative nonfiction thrives on surprising connections and shocking twists. The essay in particular is a form that often seeks to find truth by bringing together disparate narratives. Creating depth and tension through unexpected juxtaposition of themes, images and even styles, it allows us to examine a subject anew from multiple angles–personal, historical, cultural, whatever catches your imagination!

But how do you find those different threads, and once you’ve got them, how do you structure your thoughts? How do you go from a mass of disparate observations to a cohesive, powerful and surprising work of creative nonfiction?

That’s where braiding comes in. As essayist Nicole Walker writes, “radical braiding is a foundation of creative nonfiction.” It exists in almost every mode, from personal essay to literary journalism. It even pops up in fiction. Braiding narratives can bring breadth to a personal story, intimacy to a scientific subject, and drama to the mundane. As with the hairstyle, a braid can be neat or messy, simple or endlessly complex, with a pattern that breaks apart only to come together in the end as a fascinating, unexpected whole.

Whether you’re starting a new project or looking to bring fresh complexity to a work in progress, this eight-week workshop will offer a deep dive into the craft of braiding. Through readings, writing activities and peer and instructor feedback, participants will learn from writers who use the form with great skill and apply that knowledge to their own work. Participants should be prepared to complete the session with a draft of a braided essay.

Before our first meeting, please read “The Braided Essay as Social Justice Action” by Nicole Walker and come prepared to write!

Erika Thorkelson is the author of two forthcoming books of creative nonfiction: How to Look at a Volcano, an essay collection that explores the intimate effects of large-scale instability and disaster, both human made and natural (Book*Hug Press 2027), and Clumsy, a memoir about growing up poor and nerdy on the prairies at the end of the 20th Century (NeWest Press 2028). Her work has appeared in local and national publications including Geist, Prairie Fire and The Walrus. Her essay “A Girl Needs a Mech Suit” will appear in the Best Canadian Essays 2027.

https://linktr.ee/ethorkel

From Lived to Told: A Storytelling Workshop
2026-11-29 13:30 - 16:00, 2026-11-21 10:30 - 16:30, 2026-11-14 10:30 - 16:30 | QWF Office, 1200 Atwater Avenue, Room 3, Westmount, QC, H3Z 1X4, Canada
Two Saturdays, Nov 14 & 21, 10:30 a.m.–4:30 p.m (plus a live showcase on Nov 29, 1:30–4:00 p.m.—see below for details)
Open to all
Limited to 12 participants
Hybrid workshop*
You’ve lived the story. Now learn how to tell it!
Whether you’re an aspiring storyteller, hoping to perform at storytelling events such as Confabulation, The Moth, or community storytelling showcases, or simply looking for a meaningful way to shape and share your lived experiences, this workshop will help you transform a personal story into one that resonates with an audience.
Over two interactive days, you’ll develop a true personal story of seven minutes or less through guided writing, editing, discussion, peer feedback, and performance coaching. Together, we’ll explore what makes audiences lean in: a compelling narrative arc, vivid details, emotional honesty, and a clear sense of purpose.
You’ll leave with a polished personal story, practical storytelling tools you can use again and again, and the confidence to share your work with an audience.
The workshop culminates in a live storytelling showcase, where participants will perform their finished stories before an invited audience of family, friends, and members of the community. The showcase will take place on Sunday, November 29, from 2:00 to 4:00 p.m., in Room 2 of Centre Sanaaq in Downtown Montreal, giving participants a little over a week after the workshop to continue refining and rehearsing their stories.
What You’ll Learn
By the end of the workshop, participants will:

Discover the heart of a personal story and why it matters.
Shape lived experience into a compelling narrative with a clear beginning, middle, and end.
Edit for clarity, pacing, and emotional impact without sacrificing authenticity.
Learn techniques that strengthen audience engagement and connection.
Develop greater confidence telling stories aloud.
Receive constructive feedback from peers and the facilitator.
Prepare a polished seven-minute story for the live storytelling showcase.

Workshop Schedule
Day One — Discovering and Crafting Your Story
10:45 a.m. – 5:15 p.m. (including a 20-minute break)
We’ll begin by exploring the stories participants have brought with them before identifying the heart of each narrative. Through discussion, examples, and guided exercises, participants will learn how to shape lived experience into a compelling story by strengthening structure, pacing, detail, and emotional impact. The afternoon will focus on peer workshops, constructive feedback, and revision strategies.
Between sessions, participants will revise their stories independently.
Day Two — Bringing Your Story to Life
10:45 a.m. – 5:15 p.m. (including a 20-minute break)
The second day shifts from the page to the audience. Participants will refine their stories through coaching on voice, pacing, pauses, presence and audience connection while preserving authenticity. We’ll conclude with practice performances, individual feedback, and rehearsal strategies to prepare participants for the live storytelling showcase, which will take place on a separate date following the workshop.
Who Should Apply?
This workshop welcomes writers, performers and anyone interested in transforming lived experience into meaningful storytelling. No previous storytelling or performance experience is required.
Please arrive with one true personal story you would like to develop. This may be:

a complete story of seven minutes or less; or
approximately three typed pages describing a lived experience with a clear beginning, middle and end.

Stories should be based on lived experience.
Participants should expect to share their work aloud, offer thoughtful feedback to fellow participants, and revise their stories between the two workshop dates.
Suggested Preparation
Before the workshop, participants are encouraged to watch a few live storytelling performances—such as Confabulation or The Moth—and reflect on a personal experience they feel ready to explore.

*This workshop will take place at the QWF Office (Room 3, 1200 Atwater Avenue, Westmount, Quebec) with up to 2 virtual spots for participants who are unable to attend in-person because of distance or disability. By default, all workshop registrations are for in-person spots. If you would like to request a virtual slot, contact John at john@qwf.org stating the reason for which you would need the virtual spot, then wait for a response before registering. Please do not register until you receive confirmation of a virtual spot for you.

Afreina Noor is a storyteller, performer and communications professional whose work explores identity, belonging, and lived experience. She has performed with Confabulation, Throw Poetry, Montreal Improv Theatre, and other storytelling venues, and is Vice President of Storytellers of Canada – Conteurs du Canada. Professionally, she leads storytelling initiatives that help individuals and communities translate personal experience into social change through organizations including Unsinkable. She was the QWF’s 2025 Mairuth Sarsfield Mentorship recipient. Afreina is passionate about helping people discover, craft, and confidently share stories that connect with audiences.

Writing for Games and Interactive Media
2026-11-26 20:00 - 22:00, 2026-11-19 20:00 - 22:00, 2026-11-12 20:00 - 22:00 | QWF Office, 1200 Atwater Avenue, Room 3, Westmount, QC, H3Z 1X4, Canada
Eight Thursdays, Oct 8–Nov 26, 8:00–10:00 p.m.
Open to all
Limited to 12 participants
Hybrid workshop*

Interactive storytelling isn’t just for videogames, tabletop or board games. Immersive theatre, public art installations, museum exhibits, and educational experiences can all spring to life from narrative techniques that place the audience at the centre of the experience.
In this workshop, we’ll develop foundational storytelling skills that you can use in your own interactive projects, or to build your knowledge to work as a storyteller in interactive media, including games.
We’ll begin with evergreen writing skills, like character, worldbuilding and dialogue, and then consider the audience as a character, branching narrative and stories that respond to audience inputs and actions, and what all of this means for plot and structure.
Finally, we’ll discuss how to collaborate with other disciplines to make each part of an experience tell one great story.

Each session will include:

A lecture and discussion of the topic of the week
A participant-led analysis of an interactive story
A generative writing exercise for hands-on practice
Time for advice and Q&A about personal interactive projects

Notes:
Sharing in-session writing is optional. Given the collaborative nature of interactive media, occasional group work will be encouraged.
No special equipment is necessary. Please bring a notebook, pen, and all the curiosity and enthusiasm you can muster. You may bring a laptop or tablet if it’s your preference, but all exercises can be completed with a pen and paper.
This is a human-led workshop about human-made experiences for human audiences. While we may employ technology in the pursuit of this goal, this is not an appropriate space to use AI (like LLMs) or to undertake AI projects.

Recommended Reading:
The Game Narrative Kaleidoscope, collated by Jon Ingold (https://www.inklestudios.com/kaleidoscope/)
This anthology of over 100 current narrative practitioners, writing about the topics that move them also has a free podcast, in which contributors are interviewed.
Emily Short’s Interactive Storytelling: Narrative and games and new media (https://emshort.blog)

*This workshop will take place at the QWF Office (Room 3, 1200 Atwater Avenue, Westmount, Quebec) with up to 2 virtual spots for participants who are unable to attend in-person because of distance or disability. By default, all workshop registrations are for in-person spots. If you would like to request a virtual slot, contact John at john@qwf.org stating the reason for which you would need the virtual spot, then wait for a response before registering. Please do not register until you receive confirmation of a virtual spot for you.

Former theatre kid Jill Murray has designed and written for videogames since 2011. She has over 25 games to her name, from AAA titles (Shadow of the Tomb Raider) to big indie games (Subnautica: Below Zero), and small ones (The Big Con). Her art games have been showcased at the Young V&A museum, and poetry festivals in the UK. She previously published two young adult novels and is now completing her MFA in Creative Nonfiction. She has taught game design and writing in workshops and classes to writers of all stripes and is excited to do it again.

Social Media: Bluesky: @jillmurray.bsky.social, LinkedIn: https://www.linkedin.com/in/jill-murray/

Expanding Our Poetic Range Through Memory, Place, and the Senses
2026-11-26 17:30 - 19:30, 2026-11-19 17:30 - 19:30, 2026-11-12 17:30 - 19:30 | QWF Office, 1200 Atwater Avenue, Room 3, Westmount, QC, H3Z 1X4, Canada
Eight Thursdays, 5:45–7:45 p.m.
Open to all
Limited to 12 participants
Hybrid workshop*

How, as writers, can we break the surface of the everyday and go deep? This workshop is for poets of any level of experience who are seeking to expand the range of their subject matter. Over the eight sessions of the workshop, we will take some time to dwell in the places our writers’ sensibility can travel when we tune into our senses and journey into memory and place.

The aim of the workshop will be to generate a rich pool of new material, from which our best work can emerge. Workshops will consist of in-class writing exercises, weekly writing assignments, and time for participating poets to receive constructive feedback from the workshop leader and their peers. As a group, we will also perform close readings of works by a range of published writers that constellate around a series of themes selected to help us mine our own memories and sensory experiences of the world around us. Some proposed themes include: a child’s-eye view: writing through the lens of childhood; lost and found: orienting through poetry; (re)mapping our world: a sense of place; entering the myth: poetic exchanges with mythology; and mapping the landscape of the body.

You will be encouraged, for the duration of the course, to “apprentice” yourself to the work of a published poet of your choice, whose voice will be a steady and nourishing guide as you work on your own material. You will also have the opportunity (though it is by no means obligatory) to read your own work aloud, both as a practice tool for giving future poetry readings, and to “lend an ear” to the editing process. The workshop will be a safe and friendly space, with an emphasis on diving into the messiness of creation and getting excited about new ideas.

*This workshop will take place at the QWF Office (Room 3, 1200 Atwater Avenue, Westmount, Quebec) with up to 2 virtual spots for participants who are unable to attend in-person because of distance or disability. By default, all workshop registrations are for in-person spots. If you would like to request a virtual slot, contact John at john@qwf.org stating the reason for which you would need the virtual spot, then wait for a response before registering. Please do not register until you receive confirmation of a virtual spot for you.

Kelly Norah Drukker is a Montréal-based poet and nonfiction writer. Her poetry collection Small Fires (McGill-Queen’s University Press) won the A.M. Klein Prize for Poetry and the Concordia University First Book Prize, and was a finalist for the Grand Prix du livre de Montréal. Petits feux, the French-language translation, was published by Le lézard amoureux in 2018. Most recently, Kelly’s work has appeared in The Goose: A Journal of Arts, Environment, and Culture in Canada, The Temz Review, Burning House Press (UK), and Rabbit Poetry (Australia). Kelly holds an MA in English and Creative Writing and a PhD in interdisciplinary Humanities from Concordia University.

Writing Outside the Box: An Edgy Fiction Workshop
2026-11-25 08:00 - 17:00, 2026-11-18 08:00 - 17:00, 2026-11-11 08:00 - 17:00 | Online via Zoom
Eight Wednesdays, Oct 7–Nov 25, 5:45–7:45 p.m.
Open to all
Limited to 12 participants
Online workshop*
Due to the content in some of the exercises, this workshop is restricted to participants aged 18+.
Looking to shake up your process? Interested in breaking the rules a little? Designed to inspire unique approaches to creative writing, this workshop will help squash your inner editor and provoke your inner rebel, giving you the confidence you need to write more openly and honestly.
Over the course of eight weeks, you’ll explore the work of unconventional writers like Italo Calvino, Zsuzsi Gartner, Kelly Link, John Elizabeth Stintzi, Tamas Dobozy, and George Saunders. You’ll learn tips and techniques for producing work quickly and fearlessly while dabbling in ekphrasis, magic realism, and second-person perspective. You’ll also hone your ability to give and receive constructive feedback in a creative working environment.
This is a fun, provocative, and productive workshop that’s generated award-winning fiction and long-term friendships. It’s suitable for writers of any experience level, working in any medium or genre—from the shy beginner to the established professional. And while filled with lesson-based exercises and guided assignments, this workshop is happily (and willfully) anti-academic. Participants are not taught writing theory but are encouraged to develop their skills through the acts of reading and writing alone.
There is no submission required prior to the first session. Participants will be expected to share fiction with the group as the workshop progresses.
This is the perfect way to kickstart a project, rejuvenate your existing process, or to simply step outside of your comfort zone by experimenting with new approaches to creativity.
Come play with the weird kids of the writing world.
(One of us. One of us.)
*This workshop will take place online via Zoom. A Zoom link will be sent to all registered participants a week or so prior to the first session.

Tracey Waddleton is a Newfoundland writer living in Montréal. A finalist for the NLCU Fresh Fish Award for Emerging Writers and recipient of the 2015 Lawrence Jackson Writers’ Award, Waddleton’s work has been described as weird minimalist dark realism. Her first book, Send More Tourists… the Last Ones Were Delicious, was published in July of 2019 and won the 2020 ReLit Award for Short Fiction. Tracey was the inaugural recipient of the Quebec Writers’ Federation Max Margles Writing Residency in 2020 and was awarded a Hawthornden Fellowship in May of 2023. She is finishing her first novel.
www.traceywaddleton.com

Getting Elemental: Fundamentals of Short Fiction
2026-11-24 20:00 - 22:00, 2026-11-17 20:00 - 22:00, 2026-11-10 20:00 - 22:00 | QWF Office, 1200 Atwater Avenue, Room 3, Westmount, QC, H3Z 1X4, Canada
Open to all
Limited to 12 participants
Hybrid workshop*

Workshop Description: Getting Elemental: Exploring the Fundamentals of Short Fiction is a two-month long, weekly 2-hour workshop that focuses on a different element of style each week. These topics include; setting, character development, dialogue, description, voice, theme, point of view, and structure.
In a satisfying short story, all the elements of fiction listed above are working in concert to create an immersive world populated with complex characters. Of course, all of these elements are overlapping and influencing each other. However, by focusing on one element per week, we can try to understand how to make sure each element is in harmony with the others.
Over the course of the workshop, participants will submit one full-length story (2500-3000 words) to the group for discussion. In addition to the full-length story, participants will have opportunities to share scenes generated in response to weekly prompts.
The critique of short scenes will focus on the elements of short fiction discussed in the exercises as well as on sentence-level decisions about diction and rhythm. By flipping between critiques of full stories and shorter pieces, we will be able to have conversations that both delve deep into sentence level concerns and address big-picture structural questions. This format also allows participants multiple opportunities to share their work with the group.
This workshop centers on delivering and receiving feedback. Isolating what is and isn’t working in other people’s work is crucial to honing your own craft. Further, learning to give incisive and compassionate feedback is a valuable skill that will help you build a writing community.
Participants should have a short story of 2500-3000 words prepared in advance of the first session of the workshop.

*This workshop will take place at the QWF Office (Room 3, 1200 Atwater Avenue, Westmount, Quebec) with up to 2 virtual spots for participants who are unable to attend in-person because of distance or disability. By default, all workshop registrations are for in-person spots. If you would like to request a virtual slot, contact John at john@qwf.org stating the reason for which you would need the virtual spot, then wait for a response before registering. Please do not register until you receive confirmation of a virtual spot for you.

Eva Crocker is a writer and editor based in Tiohtià:ke (Montreal). She is the author of two critically acclaimed novels, Back in the Land of the Living (House of Anansi Press 2023) and All I Ask (House of Anansi Press 2020), which won the BMO Winterset Award. Her debut short story collection, Barrelling Forward (House of Anansi Press 2015), won the Alistair MacLeod Prize for Short Fiction and the CAA Emerging Writer Award, was a finalist for the Writers’ Trust Dayne Ogilvie Prize for LGBTQ Emerging Writers and the NLCU Fresh Fish Award for Emerging Writers, and was a National Post Best Book. Her new short story collection, Bargain Bargain Bargain, will be published by McClelland & Stewart in 2027.

Eva holds a PhD in Interdisciplinary Humanities from Concordia University.
