Friday Speak Out!: Characters without Characteristics

Friday, July 10, 2026
By Fran Hawthorne

From the first draft of my most recent novel, Her Daughter, I knew that I needed to strip its characters of almost any identifiable trace of religion, ethnic background, nationality, or race.

That's because the story centers on a type of domestic abuse called Parental Alienation, where one parent deliberately gaslights the children to turn them against the other parent. I didn't want readers to think they could wave off the gaslighting parent's horrible behavior as something that only "they" (insert ethnic bias) do, that "our kind of people" would never do.

As writers, we work hard to give our characters vivid quirks, habits, speech patterns, and hairstyles. I didn't realize how difficult it would be to take some of that away--how much even the smallest ethnic clues are woven into our everyday lives.

For starters, my characters have white-bread names, such as Alice Wilson and Robert Corning, which could come from Northern European heritage or could have been changed on Ellis Island. The only holidays they celebrate are secular ones like Halloween and Mother's Day. The daughter of the title eats Cheerios as a baby and organic strawberries and wheat germ as a picky teen, but never bagels, churros, or pho.

No chapter takes place during December, because in the contemporary U.S., a family at that time of year would probably be brainstorming gift ideas for ... uh, which December festival?

Almost the only clues I allowed were occasional bits of description--"sun-blonde ponytail," "wild brown hair," "dark blue eyes"--because I think readers deserve some visual landmarks.

For a while, my self-imposed limits were an intellectual challenge, but not too onerous--akin to avoiding crutch words like "just" and "often." Until the funeral scene.

That scene is an important turning point in the narrative. However, commemorations of death are also key elements of cultures and religions. How soon after death is a person buried? How, when, and where would family and friends gather to remember the deceased?

If they gather at the funeral home before the burial--that's a Catholic wake. If they gather at the person's home after the burial--that's a Jewish shiva.

Couldn't I bury the dead in peace?

Oh, I wished I could simply write about the contemporary, secular-Jewish families that peopled my first two novels and that I'm comfortable with! How easily an "oy" would type itself into a round of dialogue, a bagel onto a breakfast platter.

And you know what? It's a good thing I couldn't.

Sure, fictional characters need the richness of ethnic food, names, music, and holidays, but they also need to have an unexpected mix of qualities--the same as real people do. Writing this book stretched me to think of new ways of describing my characters, without the easy cultural tags. I think they're better people because of it.

***

photo credit Jolene Siana
During her award-winning journalism career, FRAN HAWTHORNE wrote eight nonfiction books, mainly about consumer activism, the drug industry, and the financial world. She's also been an editor or regular contributor for Business Week, The New York Times, and many other publications. Her first two novels, The Heirs and I Meant to Tell You, were published in 2018 and 2022 by Stephen F. Austin State University Press and together won or were named a finalist for seven awards, including the Eric Hoffer Book Awards and the Sarton Award. HER DAUGHTER, Fran's third novel, was published in January 2026 by Black Rose Writing. She's at work on Number 4 from her home in Brooklyn, NY. Learn more at https://www.hawthornewriter.com/

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Would you like to participate in Friday "Speak Out!"? Email your short posts (under 500 words) about women and writing to: marcia[at]wow-womenonwriting[dot]com for consideration. We look forward to hearing from you!

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Only So Many Words in a Life

Wednesday, July 08, 2026
 

About a year ago I found the perfect new market. I loved reading them. It was a new publication so I was getting in on the ground floor as a writer in a subject I’d written about for years. The editors were supportive. And the pay was excellent. What’s not to love?


One assignment led to another and soon not only was I sending them article ideas but they were coming to me with article ideas they thought were a good match for me. Normally, I dive into a new assignment when I receive it, eager to explore the topic and craft the piece. But research and interviews for assignments from this market languished on my computer to-do list until I absolutely had to start writing. I was still delivering features they loved (often after a lengthy re-write) but I was struggling.


Over the years I have written a wide variety of things that weren’t exactly my first choice but provided a steady paycheck. Brochures for businesses. Trivia questions for a video game. Reviews of power tools (really!). Articles for a golfing magazine – a sport I don’t play. I liked to think of them as stretching my writing muscles. Building blocks in my writing career. But this was something different. I was unhappy from the moment I took and assignment until its completion.


Finally, I took a moment to examine my pairing with this new market. On paper we seemed like a perfect pairing but, after pouring over the editor’s notes to me and remembering my writing experience, I realized what the problem was – voice. This market wanted an edgy, take-on-the-world voice. It was a reasonable requirement from the editors. After all, that voice set them apart from other similar publications on the market. But this was not my voice. In order to create pieces to match this market’s vision I was constantly rethinking how I would approach the subject and adopting an attitude that wasn’t mine. It was exhausting.


Reluctantly (what freelancer turns away a perfectly good market?) I decided to stop writing for them. I could have continued to adjust my writing to fit into their market but life isn’t eternal. We only have so many days of living and we will only write so many words. I decided I didn’t want to write words that didn’t reflect who I was.


Have you ever had to stop writing for a market? Why?


Jodi M. Webb writes from her home in the Pennsylvania mountains. She's also a blog tour manager for WOW-Women on Writing. Follow her writing and reading life at
Words by Webb


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Interview with Elizabeth Hoban, 2nd Place Winner in the Winter 2026 Flash Fiction Contest

Tuesday, July 07, 2026

 


Elizabeth is a traditionally published author of The Secrets That Save Us and The Cheech Room, and a historical nonfiction novel, The Final Mission, a Boy, a Pilot and a World at War. She has written numerous newspaper and magazine articles over the years. She has won several writing awards, including Bethlehem Writers Circle Best in Prose 2018, Writers Digest runner-up in Memoir 2019, Millennium runner-up for Best in Prose 2023, and Reedsy first-place award for two short stories and two short-listed. Her first winning story appears in 2025 Reedsy Anthology. She received the Miriam Chaiken Award for Best in Prose 2025, and is the 2026 guest judge for same. In 2025, she won Women on Writing (WOW) Q3 Essay Contest Award 2025, as well as 3rd place in WOW 2026 Q1 Flash Fiction. 

 Aside from writing, Elizabeth is a Nurse Practitioner who loves spending time with her kids and her four-legged antidepressants. She doubts any of her 6 adult kids have ever read her work – maybe her cat Seuss based on his pedigree. 

----------Interview by Renee Roberson



WOW: Hi Elizabeth, and welcome! I"m excited for our chat today. First of all, I have to mention to our readers that you had two stories place in this contest! We're going to have you back on August 11 to discuss your other winning story, "A New Normal." Today, we'll start with discussing your second place winner. "Downloading Hemingway” features a twisty narrative that slowly builds tension throughout, ultimately ending in a shocking conclusion. Where did you first get the idea for this story? 

Elizabeth: I attended a funeral service a couple of years ago with a dear friend who didn't want to go alone, and it was held in the family home. I was shocked at how people could come and go - no guest sign-ins - just a lot of people partying, including the widow of the young man who had died. It was a drunk-driving accident, but that went unsaid other than those who were close to the widow and her late husband. And many of the platitudes, as an objective observer, I found absurd. They'd recently had a baby who was basically unattended in a back room - just a basic baby monitor the widow/mother had next to her outside on a table. That was when the story came to me - I decided to use a neighboring dog as a distraction. Since the widow had no idea who I was and barely knew my friend (my friend was a casual coworker of the widow's mother), I didn't feel it was unethical, but that's why I chose to write it in second person. Obviously, no baby was stolen, but it was easy to envision that scenario. 

WOW: I love how you pulled observations from a real-life experience  and wove them throughout a fictional narrative. It really made the story come alive, in my opinion. In your bio you mention having written for magazines and newspapers as well. How has that professional experience influenced what you choose to write about creatively? 

Elizabeth: I always wanted to be a writer and started books but never got past the first few chapters before moving to something else. I was at an event with my children in my twenties when I met a newspaper journalist and asked him if I could write a humorous column about being a single mom. As a widowed mother, I had so many stories to share. The journalist was kind enough to humor me and asked me to send him a few pieces. I was so fortunate that he had a similar sense of humor and gave me a byline, "Single and Surviving," for several years. I soon realized that if I could write close to 300 columns totaling about 900 pages, why couldn't I finish a novel? Writing my first book took a decade and was harder than grad school, but I became obsessed with finishing it. I was able to get that book published a few years after completion, but it was not easy.

WOW: Writing a full-length novel is not for the faint of heart, but you did it! You've also completed a full-length work of nonfiction, too! Your book The Final Mission, a Boy, a Pilot and a World at War is a true story about your father. Can you tell us what the process was like working on a story so close to your family? 

Elizabeth: This was an act of love for sure. I am by no means a history expert. I mix up Mussolini and Napoleon (eye-roll). When my father was in his nineties, we learned through a simple Google search that the Austrian government had been searching for my dad for years, and they had erected a monument in the ravine where his B-17 went down. Apparently, there was a six-year-old boy who witnessed my dad's heroic efforts to veer his plane away from Innsbruck and straight into the Austrian Alps. He bailed out with seconds to spare and was taken POW for the rest of the war. My father never talked about his war experiences, so discovering this Austrian heroism over 60 years later was a miracle. If it weren't for the internet, we would never have known. The boy who witnessed the heroic maneuvers never forgot my dad, and when he was in his 60s, he took part in the search for him. He was able to thank him personally when we were invited to Austria. I recall saying to my dad at one point that it would make a great story, and he said, "...then write it." 

I spent about 2 years interviewing my dad - everywhere we went because he was too old to drive I recorded him and just kept grilling him with questions, figuring if not now, his story will be lost when he dies. He was able to find closure in finally talking about all of it - the book is amazing, but it is not my story - it belongs to my father, and I wrote it for him. He lived till 100 years old, and we were able to do numerous book signings, and he gave speeches; luckily, he was lucid until he died of a sudden stroke. I had already written The Cheech Room, which took almost ten years, as it was my first novel. I was raising kids at the time and had to carve out an hour here and there, but they were grown by the time I wrote Dad's story. It took 3 years to write it and about an hour to find a non-fiction publisher - Westholme Publishing in Yardley, PA who called me after I sent out ten queries to publishers, and he was very interested, especially because the entire book was written already. I had always heard it was easier with a nonfiction book that has a decent proposal to go straight to publishing houses and bypass the agent. It proved true for me. The Final Mission, a Boy, a Pilot and a World at War was published a year later. After my first book was traditionally published, it didn't take long for my two other books to be picked up by a fiction publisher. An interesting fact: my dad's publisher's name is Bruce Franklin, and he is a direct descendant of Benjamin Franklin. His publishing house in Yardley was home to Benjamin at one point. 

WOW: What an amazing experience both learning about that piece of family history and documenting it with your father. Kudos! I remember your award-winning essay “You” from the WOW! Q3 2025 Creative Nonfiction Contest. Have you given any further thought to writing that memoir you mentioned during that interview? 

Elizabeth: I have a few about 200 pages of my memoir done and no title yet. Every time I write a section, I recall another pertinent story and have to go back and put it in sequence. It hasn't been easy, but winning WOW last year really encouraged me to get started on it, which I did. I am writing an anthology of my short stories, and once a week, I try to devote a few hours to the memoir. This is another act of love and can be emotional. Even if it never gets published, I am okay with that. I will have it bound for my kids someday. 

WOW: What does a typical day look like for you as far as working on your various writing projects? How do you manage your time? 

Elizabeth: I will admit, I am not a great time manager - I can get easily distracted with 6 adult kids to keep track of; however, I never watch TV, and I rarely sit down and read a book, but rather listen to books when I am commuting/driving. I feel guilty when I am not writing while I sit and support others' work, whether in TV or books. Having said that, I am an avid reader and finish about 100 books/year. I work full-time as a nurse practitioner, but hope to cut back to part-time in 2027 to spend more time on my writing endeavors. Currently, I spend about three hours at the end of the day writing, and I take the weekends off. I find that when I return to whatever I was working on, fresh on Monday evening, I am more motivated and can more easily find flaws and weak spots. I have always heard that one should step away from a piece of writing for a while, then return to it with fresh eyes. It took me a while to do that without feeling guilty - but after publishing a few books now, I know that advice is very true. 

WOW: Well, you certainly know how to manage your time in my humble opinion! I look forward to sharing more about you with our readers in a separate interview next month. Happy Writing!


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Interview with Fiona Jensen, Runner Up in the WOW! Q2 2026 Creative Nonfiction Contest

Sunday, July 05, 2026

 


From a childhood divided between Scottish castles and the tundra of the Canadian Arctic, Fiona’s experiences have tumbled across the raising up a brace of heart-strong kids, a career in psychiatry, cherished connections with friends, bizarre health adventures and an enduring drive to create. She offers a bow of gratitude to her writing circle—that’s looking at you Beth, Patricia, Liz and Dianne. Her words have found print in the Tadpole Press Literary Magazine, Writer Advice, 101 Words and beyond









 ----------Interview by Renee Roberson 

WOW: Hi, Fiona, and welcome! First of all, can we talk about your delightful bio? I was smiling the whole time I read it. What tips would you give someone who needs to put together their writer bio and wants to infuse as much of their personality as they can into it? 

Fiona: Initially, I was mystified by the task of condensing my life into just a few sentences. I ended up considering what I most valued in the story of my life and what might intrigue others. The intersection of the two became my starting point. I will confess, I was rather taken aback at the idea of listing publications at the end. This challenged that irksome imperative to modesty I, like so many women, picked up somewhere along the way. Everyone seems to do it though, so I tacked a few publications on the end. I guess the next time around, I can add Women on Writing! 

WOW: That's right! We recommend you toot your own horn whenever you can. "Instructions for Creating a Love Tapestry" is a complex and beautiful essay about the universal experience of parenting and the overwhelming emotions we feel as caregivers, no matter what the age of our children. How did you first get the idea for this piece? 

Fiona: My impetus for this autobiographical essay is to offer parents newly facing the challenge of caring for a special needs kiddo a leg up. If it also allows those who have not travelled such a path a glimpse of what this form of love looks like, so much the better. The hermit crab format arose after several clumsy attempts to write the story more directly. Those drafts came across as problematically raw. Re-shaping the story as a set of craft instructions allowed me to leaven the anguish with a touch of humour, aiming for that Goldilocks balance between intimacy and spaciousness. What a treat to read Sophie Berghouse's eloquent hermit crab essay “World’s BEST Special-Needs Parent Recipe” – another runner up in this contest addressing similar themes. 

WOW: Yes, Sophie's work is another great example! You placed in the Tadpole Press April 2025 100-Word Writing Contest with your whimsical piece, "On Observing a Wagging Rump." How difficult was it for you to pare your thoughts down to the 100 words? Do you have any advice for anyone else wanting to try their hand at such brevity? 

Fiona: “On Observing a Wagging Rump” was the easiest piece I ever wrote. I dictated it as a voice note on my phone while walking Peggy Dog on a snowy day. It clocked in at 31 words and I never revised a syllable. I’m delighted that others enjoy it. I laboured far more on some of my other efforts at micro-memoir. Despite starting with a single idea expressed in a single scene with a tiny story arc, I frequently ended up over the word count. It turns out this is a wonderful problem. I learned so much about crafting concise sentences by cutting down my own work. I am astonished how many phrases suddenly appear extraneous when I need to cut another 50 words. I heartily recommend trying to reduce a piece by 10%. It gets to be rather fun with practice. 

WOW: How did you first learn about the WOW! Women on Writing Creative Nonfiction Contest and what inspired you to submit? 

Fiona: Early on in exploring where writing might take me, which is to say a year and a bit ago, I realized authors who write for others all have a heap of rejections lurking in some hidden file. I decided that I might as well plunge in and see if I could collect a heap of rejections too. In the process, I reviewed a number of websites offering information on contests and journal submission opportunities. (I wish someone had told me about Duotrope earlier–a much simpler way to explore.) Women on Writing appeared on several of these lists, so I checked it out and felt an affinity with WOW’s values and community feeling. As well as the contests, I enjoyed a couple of WOW courses. They helped me understand my writing in new ways. I can now brag of 56 rejections and am aiming for 100+. (Now, I must confess–you remember that over-wrought sense of modest propriety I mentioned earlier? Well, it is telling me most sternly that I ought not to mention that one of my earlier pieces, “I, Also” scored an Honourable Mention in WOW Q # 2025. And there have been a handful of other non-rejections along the way. There–telling you is my act of courage for the day.) 

WOW: I love that. What writing projects are you currently working on now? 

Fiona: Like “Instructions for Crafting a Love Tapestry,” much of my writing focuses on dilemmas in caregiving. As a parent, a family caregiver, a person with chronic illness and a healthcare professional, I never lack for material. Currently, much of my work revolves around health care workers serving others at an emotional or spiritual cost to themselves--and yes, those also have an autobiographical inspiration. One working title is “A Psychiatrist Loses Her Mind–and Finds a New One.”

WOW: Fiona, it's been a pleasure! I look forward to reading more of your work (rejections or not!)
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Introducing R/evolution Story Lab from Award-Winning Essayist and Author, Nicole Breit

Thursday, July 02, 2026
Introducing R/evolution Story Lab from Award-Winning Essayist and Author, Nicole Breit

by Ann Kathryn Kelly and Angela Mackintosh


Many of you in the WOW! writing community may be familiar with Nicole Breit, and more specifically her 12-month writing program, “Spark Your Story Lab” that has since evolved into an all-new and improved writing collective for creative nonfiction (CNF) and memoir writers: the R/evolution Story Lab (R/SL). 

R/SL is more than a community. It’s a dynamic ecosystem for “writers, seekers, and explorers who are ready to bring their fullest selves to the page, and beyond.” The website points out that it’s different from other writing communities because it recognizes that “storying”—yes, Nicole’s own word to describe the creative process she teaches for self-discovery on the path from drafting to editing to publication—works best when craft instruction is offered in an environment that validates the process

Nicole is an award-winning essayist and co-author of Bloom: Letters on Girlhood. Over the past decade, Nicole’s unique approach to teaching CNF has helped thousands of writers sidestep blocks, improve their craft, and secure their first publications and/or literary awards. 

Since launching in February 2026, R/SL has welcomed several hundred members into the free space, and a growing cohort in the paid membership area. Paying members can take advantage of Nicole’s signature program materials that include, among other resources, the mini course “Spark Your Story Method” as well as 6 deeper-dive modules on themes of Origin Stories, The Emergent Self, The Body, Where the Heart Is, The Bigger World, and Nature + The Spirit. Members also enjoy rotating live events monthly that include generative workshops and guest experts, as well as group write-ins and weekly challenges inside the online collective, aimed at keeping the creative fire alive. 

Angela and I took a look around this dynamic writing ecosystem recently to find out what makes this one so special and why it may be a great choice for our readers, to help you enhance (or recommit) to your writing practice. In fact, WOW! contest winner Carole Vasta Folley (who won first place in our Q1 2026 CNF essay contest), is a founding member of R/SL and credits the writing collective for “keeping my fingers on the keyboard, and more importantly, my desire to write at the forefront. Simply put, I am writing and submitting more because of R/SL.”


WOW: Nicole, R/SL is, in your own words, “a space for brave, honest ‘storying’ alongside grounded self-inquiry and creative practice, held in community.” We’d love to hear what inspired you to create the R/evolution Story Lab?

Nicole: Hi Ann and Angela, and thanks so much for inviting me to chat with you about R/SL. I believe there’s an urgent need for healthy, welcoming and inclusive creative spaces for writers whose subject matter is their own lives. I knew I was helping writers who enrolled in my programs because they were meeting their big writing goals, but once a class ended, there was no easy way for everyone in the group to stay connected. Building a space where the conversations could continue would help everyone, myself included, keep up the creative energy and momentum!

But I also believe it’s time for a new paradigm in memoir. I call my community the R/evolution Story Lab for a reason. I created the space I wish already existed for creative nonfiction and memoir writers, centered on creativity, craft and joy—because writing can and should be playful, curious and fun. Yet, that isn’t always what comes to mind when we think of writing memoir, is it?

We’ve been handed the myth of the tortured artist again and again. I’m tired of this notion that if you haven’t bled, you won’t be read. Writing has been an incredibly powerful tool for healing in my own life and the lives of the writers I’ve mentored over the years. But very few writers have been taught that they can maintain their peace while crafting work that addresses their pain. Showing writers how to do that mindfully is part of R/SL, too.

WOW: Love this: if you haven’t bled, you won’t be read. We agree, wholeheartedly! Maintaining one’s peace, while crafting work that addresses pain, can and should be a central part of the process. So, can fiction writers and poets join your community, or is it just for creative nonfiction writers?

Nicole: Yes, absolutely! R/evolution Story Lab is an inclusive learning and growth hub for anyone using writing as a tool for transformation via personal narrative. Although our focus is on creative nonfiction, our members are also novelists and poets and playwrights. That’s what makes R/SL such a beautiful place! We are a living, breathing, co-created community of folks from different countries, backgrounds, training and disciplines. What makes each of us unique is our superpower and makes our contributions to the group so meaningful.

WOW: It sounds like R/SL was designed very intentionally. Can you share how the community helps writers who are struggling to commit to a regular writing practice?

Nicole: R/SL was carefully designed to meet the needs of writers at different growth stages, as they pursue their individual journeys and varied goals that may shift over time. I envisioned our community as a place of inspiration and belonging, with education and support to continue each member’s ongoing development as writers and creators. 

I have to admit, one of my struggles has always been consistency with writing. But I’ve realized that I am much more motivated, inspired and productive when I can write alongside others who are engaged with their own work. Our scheduled writing sessions are great for that! We gather twice a month for silent writing, hosted by our Community Manager, Marisa. For 75 minutes, we show up and work on whatever we want, with our cameras off. One of our founding members, Jane, finished the first draft of her novel in a silent writing session recently!

But there’s always something going on inside R/SL to inspire new writing, from our weekly 100-word challenges, to the coursework, to invitations to share intentions, progress and wins. Our “Revolutionaries”—that’s what we call each other—share book recommendations, submission opportunities, and are starting to form smaller groups. Just this week a few of our members decided to create a space to go through the course materials together. Being that some members are in different time zones, they are looking at using video and audio notes in the space. R/SL is a living, co-created community by design, and it’s exciting to see members shaping it to meet their needs and desires.

WOW: One of the unique things about R/SL is that your community is facilitated by a trauma-informed Community Manager trained in nervous system regulation practices. What are these practices and how can they help writers?

Nicole: Many writers come to creative nonfiction with difficult stories to tell, which is why I wanted everyone to feel held and supported by a trauma-informed Community Manager who could maintain a nervous system-regulated space. Marisa’s training in yoga, breathwork, and EFT (Emotional Freedom Technique) support Revolutionaries in staying grounded and supported when the writing gets tender or emotionally activating. She has worked with folks from across diverse groups, which was important to me. I really want writers whose voices and stories haven’t been well represented in publishing to feel safe in our space to write and share with us.

Marisa is also a board-certified genetic counselor who has spent two decades sitting with people in some of the most vulnerable moments of their lives—holding space for grief, fear, and the search for language when experiences feel unspeakable. That capacity translates directly into how she shows up in R/SL: the integration of science and somatic awareness means she isn’t just offering calming techniques intuitively. She understands why they work and how things like body-doubling support our members in our co-writing sessions.

"Recently, two of our members won creative nonfiction contests, one of whom began her award-winning piece in an R/SL workshop I taught in February! But what makes R/SL so wonderful is that sense of belonging we ache for as writers. We need the company of others who understand the work."

WOW: How fascinating! What a special offering for your community members. R/evolution Story Lab also offers writers a free space where they can connect and participate in a monthly writing challenge, but can you tell us a bit more about what it’s like to experience R/SL as a full paid member?

Nicole: I want R/SL to be the place everyone wants to sign onto first thing when they get up in the morning, whether they’re in the free or the paid membership spaces. Marisa describes the experience of catching up on what’s happening in R/SL as “joyscrolling”—the polar opposite of the doomscrolling we both were prone to do at the start of our days prior to launching R/SL.

Writers in the paid spaces get a premium experience. They have access to all of my live and previously recorded training, available inside R/SL. They are able to form smaller groups to share work, form a book club, or whatever delights them and supports their writing. We create new spaces as we think of new ways to support our Revolutionaries; for example, we recently created a Library where paid members can share their published work. And whereas free members are invited to participate in one 100-word story challenge a month, our paid members do weekly writing challenges and meet regularly for scheduled live writing sessions. Although the cohort is smaller, there is much more engagement and discussion happening in our paid spaces. 

As for what the actual experience is like, imagine being an active part of the shifts and breakthroughs happening inside R/SL every week. So exciting! One of our founding members pointed out that not only are Revolutionaries incredibly supportive, but hugely talented. Recently, two of our members won creative nonfiction contests, one of whom began her award-winning piece in an R/SL workshop I taught in February! But what makes R/SL so wonderful is that sense of belonging we ache for as writers. We need the company of others who understand the work. Writing can feel like such an isolated experience. It can be really hard to do alone!

WOW: Agree. That sense of belonging is so important and can be so hard to find, and when we do, it feels like such a gift!

Nicole: Absolutely! Recently one of our Revolutionaries shared that R/SL is the group she’d been trying to find. She’d been wanting to work with me for years and was also trying to manifest a writing group where she really felt she belonged. Her other writing groups were focused on technique, but something felt like it was missing. After one of our write-in sessions she realized she’d been missing a space that nurtured creativity, authenticity and technique. I thought the word authenticity spoke volumes. There’s no “performing” in R/SL, and I think that is a big part of what creates a sense of belonging. It’s a safe space where we can just be real about our lives. 

I’ve been asking myself what it is about our community that makes it a place where authenticity can thrive. I think it comes down to creating an environment where it’s safe to take emotional risks. I show up as my unmasked self, which helps others feel it’s safe to do the same. I’ll give you an example! At a write-in I shared my dating app profile which was written in the form of a Dear Universe letter. I was nervous to share it because it felt vulnerable, even though I’m used to sharing a fair bit about my own life, including stories about being a queer, polyamorous, late diagnosed neurodivergent woman. Sharing my Dear Universe letter led to a lively conversation about whether or not a dating app profile could be considered creative nonfiction. I loved receiving input from the group on what I could add or change or expand to make it publishable!

WOW: A fantastic example, Nicole. Thanks for sharing that with us! When you reached out through email, you said something that really spoke to us: “I believe by writing about the past we empower ourselves to shape the future. The stories we tell ourselves literally create our reality!” Love this! Can you share a little more?

Nicole: I think it’s really important that we all understand that our stories hold a lot of power, a fact rooted in neuroscience. Our internal narratives are the stories we live by. They literally create our reality, so when they go unexamined, or unwritten, we are driven by stories that may not belong to us. Inherited narratives, cultural narratives, and our own fractured narratives inform our perspective and as a result, our behaviour, and what we experience—often as patterns.

Storying is the process of writing personal narrative as a tool for transformation. It’s about more than healing. It’s a form of identity work, which runs much deeper than processing a difficult experience. I wouldn’t be who I am or living the amazing life I’ve created if I hadn’t discovered its power. Storying can help us open and shift our perspectives, allowing us to see what we couldn’t see before. I like to say that although we can’t change what happened to us, we can change our relationship to the past by writing our stories. Where there was no resolution in life, we can seek resolution to an artistic problem: how will I end this story, and what, in the end, did it mean to me? When we uncover meaning and let an old story go, a kind of clearing takes place, and in that new space where confusion or grief or incomprehension lived, new stories can be written.

I’d like to go back to the Dear Universe letter I wrote as my profile on a dating app, which listed all the qualities I was seeking in a partner. Technically speaking, from a creative nonfiction perspective, I could argue that it was a kind of list essay! It felt like an impossible list, very specific. Two months after writing it, I met someone who was an ideal match. They were everything I’d asked for, with the exception of one minor detail: they were one inch shorter than my desired 6-foot-tall. I laughed when he told me he was “only” 5-11. Everything else, though?! Not a dealbreaker!

Did storying manifest this person? I like to believe it did! But what I am 100% convinced of is the role storying played in my ability to greet this new connection and be ready to experience what would unfold. I’m absolutely certain I could not be living our story right now if I was still carrying around my old baggage. I really struggled to give and receive romantic love in the past, or seek and experience intimacy in healthy ways. Writing those stories is a gift I gave myself, freeing me from how old narratives held me back in other parts of my life, too.

"It’s really important that we all understand that our stories hold a lot of power, a fact rooted in neuroscience. Our internal narratives are the stories we live by. They literally create our reality."

WOW: You recently held a workshop that introduced your StoryWork framework. Can you tell us how you came up with the name, and guide us through some of the principles for your StoryWork manifesto? 

Nicole: Thanks for this question! It relates back to the new paradigm of memoir I spoke to at the beginning of our interview: this vision I have for writing to be a source of power rather than centered on pain. My StoryWork is a guide to reorienting us as writers, redirecting our attention to alternate sources of inspiration and fuel, rather than trauma, so we aren’t taxing our nervous systems to get the writing done. 

StoryWork is not avoidance, or an attempt to bypass the reality of our difficult experiences. I strongly believe that writing is a tool for healing the past and shaping the future. But I also believe we can get the relief, the catharsis, the transformation we seek, by approaching our stories in ways that don’t recreate trauma on the page, thus triggering ourselves and our readers. 

I’ve called my framework StoryWork because it is a transformative practice that belongs alongside other forms of self-care, self-expression and healing—like artwork, breathwork, and spellwork! I’m still at work on my StoryWork manifesto, which I’ll publish on Substack, but here are a few principles that guide my storying practice.

Stories aren’t linear. Your pain isn’t the story. Desire is fuel. 

I’ll be expanding on these principles in Substack articles, too! But curious WOW! readers can tune into my free workshop replay right now, that walks writers through a transformative StoryWork process.

WOW: We look forward to reading those! Inside your community, writers can offer feedback on your 100-word story challenges. You call this practice “attentive noticing.” What does that entail?

Nicole: One of the ways I differ from other writing instructors is that I promote attentive noticing as an alternative to workshopping. I believe it’s important, especially in the early drafting stage, to receive a reflection from an attentive reader on what is emerging, and what is working. Writers often can’t see their own work and believe, incorrectly, that their work is terrible when it isn’t!

Attentive noticing is like attentive listening; we pay attention to how a line lands, notice moments that feel alive with heat, and share that with the writer. It’s about what is working well, and what we’d love to see more of in the piece. In practice, it can be as simple as repeating back a line that resonated. Attentive noticing is so valuable because it offers clues to what’s next without shutting a writer down, which so often happens with workshopping—especially among writers whose genre isn’t creative nonfiction. Our stories are smart, and so are we! Often in conversation, we find the way forward on our own. And when it’s time for revision, there are resources in R/SL to help writers learn how to identify, step by step, what would strengthen their work.

WOW: I love that! Do you have any exciting events in the works our writers should know about? And can non-members join events hosted in R/evolution Story Lab? 

Nicole: There are always exciting things coming up in R/SL! I’m currently creating a workshop on creative nonfiction as a manifestation practice. I’m very excited to share how I’ve been experimenting with using writing as a tool for visualizing and actualizing the lives we desire. I’m also looking forward to hosting some incredible guests for our upcoming Teach and Talks, including Theresa Kishkan, whose memoir, The Art of Looking Back was just published through Thornapple Press. Her book retraces her experience being cast as muse to a much older painter who became obsessed with her when she was an emerging poet in her early 20s. It’s a beautifully crafted memoir and I could not put this book down.

And yes! Anyone is welcome to attend our R/SL events as non-members for a small fee. The best way to learn about what’s happening in our community is to join us in the free space, which is also a great opportunity to start connecting with writers and participate in some writing challenges to get the creativity flowing.




Our thanks to Nicole for an inspiring chat! Anytime is a great time to recommit to your writing practice, but it’s even better when you can do it among a community of supportive, enthusiastic writers. Find your tribe, and get started for free! And if you decide to join Nicole’s story revolution as a full member, enter coupon code STORYWORK at checkout for a 25% savings. Start exploring all that’s waiting for you, inside the R/evolution Story Lab.

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Ann Kathryn Kelly is a memoirist and essayist living in New Hampshire’s Seacoast region. Her prize-winning writing has been published in dozens of literary journals and anthologies, and she has been awarded writing residencies around the world. Ann is a columnist with WOW! Women on Writing and she volunteers as a writing workshop leader. Visit her creative writing website. Ann also writes professionally for technology companies through her LLC, Pen on Demand.

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When Reading Tastes Evolve

Wednesday, July 01, 2026


I like to tell people that working in a bookstore for me is like being a kid in a candy shop. Surrounded by the unmistakable smell of new books, alluring covers, sprayed edges, and book-loving merchandise, it’s a miracle I don’t spend my entire paycheck inside the stacks each week. 

But what I do is learn about more books I want to read, and lately, I’ve noticed my tastes in literature evolving. For example, let’s see if you can spot a theme in some of my favorite reads from the past year.

The Correspondent-This epistolary novel shares the story of 73-year-old Sybil Van Antwerp, a highly-educated but brusque widow who has always made it a practice to correspond with her friends and family through weekly writing sessions. Through her letters the reader discovers Sybil’s tough demeanor hides a vulnerability, devastating loss, and complicated family history many of us can relate to. 

Theo of Golden-When a kind but mysterious 86-year-old man named Theo appears in the fictional Georgia town of Golden, the townspeople aren’t quite sure what to make of him. But when he begins purchasing the hand-drawn portraits of local residents from a coffee shop and gifting them to their owners, he bridges connections between himself and people he never would have expected. 

The Uncool-This memoir by screenwriter and rock journalist Cameron Crowe reads like a who’s who of music history. As Almost Famous is one of my favorite movies, I was inspired by the real story of how the writer first broke into Rolling Stone magazine before he could even drive. Expect to learn about interviews with legends such as David Bowie, Fleetwood Mac, Jim Groce, Greg Allman, and more. 

And now I’m a few chapters into Whistler by Ann Patchett. I’m embarrassed to say I’ve never read any of this author’s books before, but we can’t keep this one in stock at the store and I’ve heard nothing but good things about it. When I first read the premise, a 53-year-old woman encounters the man who was her stepfather for two years during her childhood in a museum, I wasn’t sure it would interest me. Was I wrong. As a middle-aged woman who had a complicated relationship with both my biological father and stepfather, I feel like Ann and I could be kindred spirits. 

I have a few younger co-workers at the bookstore that have looked at me sideways and wondered why these books have been some of my recent favorites. They learn more towards romance, nonfiction, fantasy, and romantasy. But the employees that are closer to my age align with my reading taste. While in my 30s I read a lot of young adult because I was trying to learn how to write in that genre, I find myself exploring more books about family relationships, aging parents, and parenting young adults. I think that probably happens with us all, but these books are also helping me think about new topics I want to explore in my own writing. 

On my TBR pile now is a new book by Anna Johnston, who also penned one of my favorite books set in a nursing home, The Borrowed Life of Frederick Fife. I can’t wait! 

Have you found that your reading tastes have changed as you get older? I’d love to know what you’re reading now. 

Renee Roberson is an award-winning writer who also hosts the true crime podcast, Missing in the Carolinas. In her spare time, she works at an independent bookstore in North Carolina.

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