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How to Start a Creative Writing Club

Last Updated: March 3, 2024 References

This article was co-authored by Ashley Pritchard, MA . Ashley Pritchard is an Academic and School Counselor at Delaware Valley Regional High School in Frenchtown, New Jersey. Ashley has over 3 years of high school, college, and career counseling experience. She has an MA in School Counseling with a specialization in Mental Health from Caldwell University and is certified as an Independent Education Consultant through the University of California, Irvine. This article has been viewed 35,130 times.

Do you have a passion for creative writing that you want to take to the next level? A great way to grow your writing skills is to start a creative writing club, where you can share your work with others who are invested in cultivating the same craft. Working with people who share similar interests to you is both fun and incredibly rewarding!

Things You Should Know

• If you’re a student, talk to your favorite English teacher and ask them to sponsor the club; the odds are extremely high that they’ll be thrilled by the idea!
• If you’re running the club, remember that different members are likely there for unique reasons—include a variety of poetry, fiction, non-fiction, and screenwriting activities.
• For a younger crowd, include a writing activity with every meeting and encourage members to share their work—be super supportive!
• Make sure that if you’re doing any workshop-style discussions that the members understand that critiquing someone’s work does not mean criticizing them as people.
• Clubs with older members will likely attract a good number of experienced writers, so you may want to start meetings by asking members if they’ve been working on anything they’d like feedback on before going into activities, lectures, or discussions.

Forming Your Club

• Possible locations include your house, public park, an open classroom, or anywhere else you can meet and converse without disturbing others.

• Word of mouth: Invite friends and acquaintances, and ask them to spread the word and bring their friends! Talk openly and excitedly about your club: your enthusiasm will help draw the interest of others. It’s a good idea to invite very broadly to begin with: the people who are truly invested in your club will show up and stick around.
• Posters and fliers: Design a cool flier and post it around school or your workplace! This is a nice way to draw attention to your club.
• Social media: For example, you can create a Facebook Event for the first meeting and share it widely with your friends!

• If you do decide to ask someone to be your advisor, be considerate of their time and respectful when making your request. Sending them an introductory email explaining your plans (in as much detail as you can) will allow them to make an informed decision. It is also courteous to offer to meet in person or talk over the phone/Skype so that they can ask any questions they might have before they make their decision.
• Advisors can be involved in a variety of ways, and this should be a conversation that you have directly with your potential advisor. Will they attend meetings? Will they offer guidance from afar? These are questions that are best to ask early on.

• This is related to possibly need an advisor: some schools require an advisor's signature on club registration forms. Once again, just be sure to research your school, university, or organization's requirements.

Holding for Your First Meeting

• You can choose an icebreaker that is relevant to the theme (if applicable) of your club, or you choose something entirely random. The point of this activity is to lighten the mood and help your members get to know each other and feel more comfortable opening up and sharing their work. Classic icebreakers like " Two Truths and Lie " (where everyone shares two true facts and a lie about themselves, and others guess the fabrication) and the "Name Game" (where each person has to find an adjective to describe themselves that starts with the same letter as their name) can be great simple options. [2] X Research source

• Write about an animal of your choice.
• Open up a dictionary, pick a word, and write what it means to you.
• Create a poem or story that starts with "Hello."
• Write a piece that's inspired by a conversation you've recently overheard.
• Write about something you dread or fear.

• If voting proves too messy (this might be the case, especially if you have many members), an easy and neutral online tool that may help you decide when to hold meetings is doodle.com (or other similar scheduling applications).

• Is your main goal as a group to spark new writing ideas together and actually practice writing during the meetings, or to critique and improve one another's written works? Alternatively, you may want to operate as more of a social/support group for writers, where you talk about your craft and hold one another accountable for your personal writing goals. Decide your focus together, and build that into your mission. [4] X Research source

• Bringing a large sheet of paper and pens (or whiteboard markers if your location has a whiteboard) can be a nice way of involving members in this process. Members can take turns suggesting and writing ideas. You can keep this piece of paper as a reminder for future meetings, or you can take it, type it up, and print it and share copies (or a combination).

Keeping Your Club Going

• It is helpful to bring a notebook to meetings so that new members can share their e-mails and/or phone numbers, and so that you can then add them to any groups or lists.

• It's a good idea to start an e-mail list, a Facebook group, and maybe a group chat so that you can add members and keep them informed and up to date on club meetings and activities. It's all up to you, but clear communication will help your club flourish.

• If you do choose to have writing partnerships be a part of your club structure, you may want to consider assigning writing partners randomly as well as have people change partners periodically. It's a good idea to try to prevent cliques from forming for many reasons: so that no one feels left out, so that members are receiving feedback on their work from multiple perspectives, and so that people are establishing many connections with many different members of different style, backgrounds, and personalities.
• Give members ideas of how to connect with their writing partner. Suggest accessible practices such as, "After you've written your piece, share it with your partner via Google Docs so that you can read each other's work. Then, coordinate a time to meet and discuss one your work in person." Encourage members to do whatever feels most comfortable to them.

• One way to do this is creating and sharing the link to a standing Google Form that is specifically designed for feedback. Creating an anonymous Google Form (or whatever type of digital survey works best for you) will encourage members to voice their opinions. It's good to establish protocol for how this feedback will be dealt with, early on: will you (as the leader) check the responses regularly, and will suggestions be discussed at meetings?
• Another way to gather feedback is to designate an allotted amount of time during meetings to open up the discussion for feedback and suggestions.
• If you and your members do decide that you want to discuss feedback weekly (however you choose to gather it, whether electronically or during meetings), you may also want to discuss the format of this discussion. Will it be an informal discussion? Will people vote? Will it depend on the feedback? These are good points to consider early on when determining club guidelines.

• Let members know what they should bring to the next meeting (i.e. laptop, notebooks, pens, etc.).
• Ideally, set at least a loose agenda for your next meeting, before you wrap up your first one. Your goal should be to get right down to writing and club discussions in your subsequent meetings, now that you've set some ground rules and expectations. [6] X Trustworthy Source University of North Carolina Writing Center UNC's on-campus and online instructional service that provides assistance to students, faculty, and others during the writing process Go to source

Community Q&A

• Bringing snacks can be a fun addition to any meeting. But be sure to communicate any allergens (nuts, dairy, etc.)! This will help incentivize people to come to the meetings, and—particularly if your club is hosted during lunch or after school—makes sure that no one is hungry entirely. Thanks Helpful 0 Not Helpful 0
• Bringing some extra notebooks and pens to the first meeting (or first few meetings) is always a good idea, just in case someone forgets their own. Thanks Helpful 0 Not Helpful 0
• Try this fun activity: Pass sheets of paper around so everyone has one. Have everyone write the beginning of a story, pass the sheet to the person on their right, and have them continue the story (then folding the sheet over so the next person can only see the most recently added sentence, not any of the previous sentences). It's sort of like the game "telephone," and you can theme it around a particular topic! Thanks Helpful 0 Not Helpful 0

You Might Also Like

• ↑ https://www.writersdigest.com/publishing-insights/7-questions-to-ask-yourself-before-starting-a-writers-group
• ↑ https://icebreakerideas.com/quick-icebreakers/
• ↑ http://thinkwritten.com/365-creative-writing-prompts
• ↑ https://www.inkedvoices.com/writing/types/
• ↑ http://writingcenter.unc.edu/handouts/writing-groups/writing-group-starter-kit/

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Join the Club: Creative Writing Club Explained

My name is Debbie, and I am passionate about developing a love for the written word and planting a seed that will grow into a powerful voice that can inspire many.

What is Creative Writing Club?

Benefits of joining a creative writing club, activities and workshops offered by creative writing clubs, how to find and join a creative writing club, tips for maximizing your experience in a creative writing club, advantages of joining creative writing clubs:, opportunities for publication:, networking and building connections within a creative writing club, frequently asked questions, future outlook.

Our Creative Writing Club is a community of passionate writers who come together to share their love for storytelling and hone their craft. Whether you’re new to writing or a seasoned wordsmith, our club offers a supportive and inspiring environment where you can explore your creativity, develop your writing skills, and connect with fellow writers.

In our club, you’ll have the opportunity to:

• Participate in writing exercises and workshops: Join us as we engage in various writing activities designed to stimulate your imagination and develop your writing techniques.
• Receive feedback on your work: Share your writing with other club members and receive constructive feedback to help you improve your storytelling abilities.
• Explore different genres and styles: Be exposed to a wide range of writing styles and genres through our discussions and workshops, allowing you to expand your writing horizons.
• Connect with like-minded individuals: Forge meaningful connections with fellow writers who share your passion for the written word. Exchange ideas, collaborate on projects, and support each other on your writing journeys.

Join our Creative Writing Club and unleash your creativity while growing as a writer. Whether you’re seeking inspiration, feedback, or simply the camaraderie of other writers, we welcome you to become a part of our vibrant community.

Introduction to the World of Imagination:

Joining a creative writing club opens up a world of imagination and possibility. It offers a platform for aspiring writers to explore their creativity and develop their writing skills among a supportive community of like-minded individuals. Through engaging workshops, group discussions, and constructive feedback sessions, members can broaden their horizons by stepping into the shoes of various characters, exploring different genres, and experimenting with diverse writing styles. The club serves as a safe space for writers to express themselves freely, fostering a sense of self-discovery and personal growth.

• Creative Inspiration: The creative writing club provides an environment that inspires and motivates its members to pursue their writing ambitions. By regularly interacting with fellow writers and sharing ideas, participants can tap into a wealth of creativity and inspiration. The club’s members often engage in stimulating writing exercises and prompts, sparking new ideas and breaking through writer’s block. This constant flow of creative energy nurtures a fertile ground for imagination to flourish.
• Constructive Feedback: One of the greatest advantages of joining a creative writing club is the opportunity for constructive feedback. By participating in workshops and critique sessions, members can receive valuable insights and suggestions to improve their writing. This feedback is invaluable in identifying strengths and weaknesses, polishing writing skills, and refining one’s literary voice. With the constructive guidance of fellow writers, club members can gain a deeper understanding of the art of storytelling and hone their abilities to captivate readers.

Joining a creative writing club offers an exciting array of activities and workshops that nourish your writing skills and ignite your imagination. Here are some of the captivating opportunities that await you:

• Writing Prompts: Get those creative juices flowing with a myriad of thought-provoking prompts designed to push your boundaries and inspire unique story ideas. From surreal scenarios to character-driven dilemmas, these prompts will challenge you to explore new genres and writing styles.
• Feedback Sessions: Engage in constructive discussions with fellow writers who are enthusiastic about fine-tuning their craft. Share your work-in-progress and receive valuable feedback, allowing you to identify strengths, improve weak points, and develop your unique voice in a supportive environment.
• Guest Speaker Events: Attend exclusive talks by established authors, editors, and literary agents. Gain insight into their writing processes, listen to captivating anecdotes from their career journeys, and learn valuable tips and tricks to enhance your own craft. These events offer a unique opportunity to interact with industry professionals and expand your network within the literary world.

But that’s not all! Creative writing clubs provide a platform for various enriching workshops that cover a range of topics, such as:

• Character Development: Learn techniques to create compelling and well-rounded characters that resonate with your readers.
• Plot Structure: Explore different plot structures and discover how to add suspense, build tension, and craft captivating story arcs.
• Worldbuilding: Dive into the intricacies of building fictional worlds, from designing unique settings to establishing believable rules and cultures.
• Editing and Revision: Acquire essential skills for revising and polishing your work, ensuring your writing shines before it reaches an audience.

By immersing yourself in these activities and workshops, creative writing clubs provide an inspiring community of like-minded individuals who share your passion for storytelling. Joining a club today will not only improve your writing skills but also offer a supportive space to nurture your creativity and connect with fellow writers on your journey toward literary success.

Joining a creative writing club can be a fantastic way to connect with like-minded individuals, improve your writing skills, and get valuable feedback on your work. If you’re wondering how to find and join the perfect club for you, here are a few tips:

1. Research Online: Start by doing a quick search on the internet to find creative writing clubs in your area. Look for clubs that align with your interests and goals. Check out their websites or social media pages to get an idea of their activities and the type of writing they focus on.

2. Local Libraries and Bookstores: Visit your local library or bookstore and ask if they have any creative writing clubs or if they can recommend any in the area. These establishments often have community bulletin boards where clubs advertise their meetings or workshops, so keep an eye out for any notices.

3. Online Writing Communities: Don’t limit yourself to physical clubs! There is a wealth of online writing communities where you can connect with writers from all around the world. Platforms like Meetup, Goodreads, and Reddit have dedicated spaces for writers to share their work, give feedback, and even arrange virtual meetups or workshops.

4. Attend Open Mic Nights: Open mic nights are not only a great way to showcase your own writing talent, but they can also be an opportunity to meet other writers and learn about local creative writing clubs. Strike up conversations with fellow writers during these events, and you might find yourself on the path to discovering the perfect club to join.

Ready to dive into the world of creative writing? Joining a creative writing club is one of the best ways to sharpen your skills and connect with fellow writers who share your passion. To ensure you make the most out of your experience, here are some invaluable tips to keep in mind:

• Embrace diversity: One of the most exciting aspects of a creative writing club is the diversity of writing styles, genres, and perspectives. Embrace this diversity! Engage in discussions and workshops with an open mind, appreciating the unique approaches of your fellow writers. This exposure will not only broaden your own writing horizons but also foster a supportive and inclusive community within the club.
• Consistency is key: To truly maximize your experience in a creative writing club, consistency is crucial. Attend meetings regularly and actively participate in writing exercises, critiques, and group discussions. Consistency not only helps you stay accountable in your writing journey but also allows you to build strong connections with other club members. Remember, the more you invest in the club, the more you’ll benefit from the invaluable insights, feedback, and inspiration that your fellow writers can offer.

Exploring Opportunities for Publication through Creative Writing Clubs

Joining a creative writing club can be a fantastic way to unlock opportunities for publication and share your written work with a wider audience. In these clubs, you’ll find a supportive community of fellow writers who understand the struggles and joys of the creative process. Together, you can cultivate your skills, gain valuable feedback, and discover a variety of avenues for showcasing your talent.

One invaluable benefit of creative writing clubs is the opportunity to participate in writing competitions and literary magazines. Many clubs organize regular contests, providing you with a chance to submit your work and potentially win recognition for your creativity. Additionally, these clubs often collaborate with schools, local organizations, and literary publications, increasing your exposure and facilitating potential publication. By participating in these activities, you not only enhance your writing abilities but also establish connections within the writing community.

• Gain inspiration and motivation from like-minded writers
• Receive constructive feedback to improve your writing skills
• Expand your network by connecting with professionals in the literary field
• Participate in writing workshops and learn new techniques
• Access valuable resources and recommendations for editors and agents
• Submit your writing to contests organized by the club
• Showcase your work in club-sponsored literary magazines
• Collaborate with local organizations and schools for publishing opportunities
• Connect with established literary publications through club affiliations
• Explore self-publishing options with the support and guidance of fellow club members

Being a part of a creative writing club not only allows you to explore your writing skills, but it also provides an exciting opportunity to network and build connections with like-minded individuals. Building connections within the club can open up doors to new perspectives, collaborations, and even potential publishing opportunities. Here are some ways you can network and build connections within the creative writing club:

• Participate in club events and activities: Attending club events like writing workshops, open mic nights, or book discussions is a fantastic way to interact with fellow writers and exchange ideas. Engage in conversations, actively participate, and be open to receiving feedback on your work. These events provide the perfect platform to connect with writers who share your passion.
• Form writing critique groups: Establishing a writing critique group within the club can be highly beneficial. This allows you to regularly share your work with a smaller, dedicated group of writers who can provide valuable feedback and help you improve your writing skills. By actively engaging in critique sessions, you not only strengthen your bonds with other writers but also enhance your own writing abilities.
• Utilize online platforms: Many creative writing clubs have online platforms or social media groups where members can connect and interact outside of physical meetings. Take advantage of these platforms to share your work, provide feedback to others, initiate discussions, and seek advice. The online space provides a conducive environment for networking and building connections with writers beyond the boundaries of the physical club.

In conclusion, can significantly enrich your writing journey. By actively participating in club events, forming writing critique groups, and utilizing online platforms, you can foster meaningful relationships with fellow writers, gain valuable insights, and open doors to exciting writing opportunities.

Q: What is a creative writing club? A: A creative writing club is a group of individuals who share a passion for writing and come together to foster creativity, hone their writing skills, and receive feedback on their work.

Q: Why should I join a creative writing club? A: Joining a creative writing club can be a wonderful opportunity to connect with fellow writers, gain inspiration, and receive constructive criticism on your writing. It provides a supportive community that can help you grow and improve as a writer.

Q: How does a creative writing club work? A: The structure of creative writing clubs can vary, but most typically include regular meetings where members share their writing and receive feedback. Some clubs may also host workshops, writing exercises, guest speakers, or even organize writing competitions or publishing opportunities.

Q: Do I need to have previous writing experience to join a creative writing club? A: Absolutely not! Creative writing clubs welcome writers of all levels, from beginners to experienced authors. The focus is on nurturing creativity and providing a space where writers can develop their skills, regardless of their experience level.

Q: Can joining a creative writing club improve my writing skills? A: Yes, joining a creative writing club can significantly enhance your writing skills. Through regular feedback and critique sessions, you’ll receive valuable input from fellow writers, helping you to identify your strengths and areas for improvement. The exposure to different writing styles and techniques shared by club members can also inspire and enhance your own writing.

Q: How can I find a creative writing club to join? A: There are several ways to find a creative writing club. You can check with your local community centers, libraries, or universities, as they often host such clubs. Alternatively, online platforms and forums dedicated to writing can provide information about virtual writing clubs where you can participate from anywhere.

Q: What are the benefits of joining a creative writing club? A: Joining a creative writing club offers numerous benefits. Apart from receiving valuable feedback on your work, you’ll find a supportive community of like-minded individuals who share your passion for writing. This sense of camaraderie can boost your motivation and provide a platform for networking and collaboration with fellow writers.

Q: Is it necessary to share my writing with others in a creative writing club? A: Sharing your writing with others is typically encouraged in a creative writing club but is not mandatory. Many clubs provide a safe and nurturing environment where you can share your work and receive valuable feedback. However, if you prefer to simply absorb the discussions and critique of others without sharing your own writing, that is usually respected as well.

Q: Can I join multiple creative writing clubs? A: Yes, you can join multiple creative writing clubs if you wish. This can provide you with a wider range of perspectives and feedback to help improve your writing. However, do keep in mind that joining too many clubs might divide your time and attention, so find the balance that works best for you.

Q: What is the most important thing to remember when joining a creative writing club? A: The most important thing to remember when joining a creative writing club is to approach it with an open mind and a willingness to learn and grow. Be respectful towards your fellow club members, embrace constructive criticism, and actively participate in discussions and activities. This will help you make the most of your experience and nurture your growth as a writer.

In conclusion, joining a creative writing club offers a supportive community, valuable feedback, and endless opportunities for growth as a writer. Explore your creativity and meet like-minded individuals today!

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Erin Lafond

Writer, Reviewer, and Mom

10 Creative Writing Prompts to Get Your Group Started

April 11, 2018 · In: Creativity , Writing

Last updated on July 14th, 2022 at 08:55 am

This article is part five of a series about starting your own creative writing group/club. Part one is here .  Topics will include giving constructive criticism , running a workshop , and writing games / prompts .

Writing prompts are both fun and a great club icebreaker. There are several types of writing prompts. My favorites are story prompts and first-line prompts. I used to come up with them for the teen creative writing club I ran. I’ve put some of each below to get your club started.

Here are my general rules for writing games/prompts:

• Encourage everyone to share their writing, but no one ever has to share. This creates an environment where people feel comfortable. The important thing is doing the exercise. If they decide to share, they must read their prompt aloud so everyone knows what it was.
• Set a time limit. I would generally give everyone five to ten minutes per round to write, and then I would open up for sharing. Once everyone had the opportunity to read their work, I would start another round or move on. This also encouraged people to share. After all, no story is good after five minutes.
• No one ever has to keep their prompt. If someone doesn’t like their prompt, they’re allowed to put it back and pick something else.

One last thing. My personal rule for coming up with prompts was I would never put it in the basket unless I could take the prompt in at least a couple of directions. Take the first line prompt below, “I hated that smile.” I could imagine a creepy story where the main character faces someone that scares them. I could also see the main character coming home to their mother, and the smile means they’re about to do something they don’t want to, like spend the weekend volunteering. Those are two very different stories. So, the prompt went into the basket.

I would always allow people to change the pronouns for their prompts. He to she, she to I, you to they, etc.

Story Prompts:

• You’ve decided to go on a road trip by yourself.
• You’ve wandered farther than usual and discovered an old cabin in the woods behind your house.
• You’re reading a book in the middle of the night when you hear a massive bang downstairs.
• You’re walking home, and you think you’re being followed.
• It’s been raining for a week straight with no signs of stopping.

First Line Prompts:

• I hated that smile.
• “Wait, isn’t he supposed to be dead?”
• It was too quiet.
• “Have you seen this?”
• Was that a scream?

Check out my Pinterest board for weekly writing prompts!

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Four Creative Writing Games to Get Your Group Started

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11 Ways to Attract a Libra Man As a Gemini Woman

How to get back an ex that you dumped, how to be a gymnast: 14 steps, 14 ways to overcome heartbreak, 5 ways to remove toolbars, how to share an album on facebook, 4 ways to white water raft, how to make a slip and slide: 8 steps, 11 simple ways to make a taurus man miss you like crazy, how to peel a sweet potato: 9 steps, how to start a creative writing club.

Are you passionate about writing and looking for a way to connect with like-minded individuals? Starting a creative writing club can be an excellent way to foster creativity, build community, and help writers develop their skills. Follow these simple steps to start your own successful creative writing club.

1. Define your club’s purpose and goals

Before you dive into planning your club, ask yourself what you hope to achieve. Do you want to focus on workshopping pieces, exploring new writing techniques, or simply providing a supportive space for sharing ideas? Setting clear goals and defining your club’s purpose will help keep your meetings consistent and engaging.

2. Determine the club’s size and structure

Consider whether you prefer a small intimate group or a larger gathering with diverse perspectives. Your preferred club size will influence how you promote your club and choose members. Additionally, decide if you want a formal hierarchy with specific roles, or if you’d prefer a more casual setup.

3. Decide on meeting logistics

Select an appropriate meeting location that is accessible and comfortable for all members, such as a local library, community center, or even online via video conferencing platforms. Plan how often the club will meet—weekly, biweekly, or monthly—and how long each meeting will last. Establishing these details early on will make it easier to plan future gatherings.

4. Develop a plan for each meeting

Create an agenda ahead of time that incorporates the club’s purpose and goals. Outline the writing activities, discussions, or critiques that will take place during each meeting. Having clear expectations about what each session will entail helps keep members engaged and on track.

5. Advertise your club

Spread the word about your creative writing club through social media platforms, websites like meetup.com, local community bulletin boards, or in-person networking events. You may also want to contact local libraries or bookstores to advertise your club. Tailor your promotional material to attract the kind of writers you hope to join your group.

6. Screen and select members

While it may be tempting to accept anyone who expresses interest in your club, carefully consider what type and level of writing skills your club is targeting. You may want everyone to have a similar skill level or a diverse range of abilities. Be transparent about what you’re looking for in potential members and communicate with them before inviting them to join.

7. Establish ground rules

Create a set of guidelines that outline the club’s expectations for behavior, critique etiquette, and member participation. Ensure everyone adheres to these rules so that the environment remains supportive, respectful, and productive.

8. Keep members engaged

As your club progresses, seek feedback from members on what they’re enjoying or any areas that need improvement. Incorporate member suggestions into future meetings to keep the club fresh and dynamic. Genuinely listen to the needs of your members and be willing to adapt the structure or goals if needed.

In conclusion, starting a creative writing club takes some planning and effort, but the rewards can be incredibly fulfilling. By following these steps and tailoring them to your specific needs, you’ll create an engaging space where writers can flourish together in their creative endeavors.

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'The Quill Guild' crafts a creative writing community

11/17/2016 By | Agnes Shin , A&S Communications

As the clock struck 5 on a Wednesday afternoon, a crowd of writers scurried into a bustling room in Goldwin Smith Hall, eager to meet with fellow writers and engage in an hour-long session of “critique speed dating.”

The writers belong to the  Quill Guild , a creative writing club at Cornell that aims to create a community for collaborative learning and writing. The club, which meets every Wednesday, was established in fall 2015 by Aisha Rupasingha ’18, an English major and film minor in the College of Arts and Sciences.

“I was really frustrated that there weren’t any clubs devoted to creative writing without the need for publication,” Rupasingha said.

Members are free to bring any type of writing to meetings: some share short stories or spoken word poetry, while others bring narrative nonfiction, screenplays or pieces from novels.

In addition to meetings dedicated to sharing and critiquing, the club also hosts “write-ins,” in which members write, share and troubleshoot as a group, and workshop days, where members view presentations on how to improve their writing.

“You’re constantly pursuing the practice of writing … and it connects you to talented people who can look at your work and give you pointers on how to improve. It’s a refresher that you’re a writer and that you need to write,” Rupasingha said.

The club has also hosted guest speakers such as Megan Shull 91, M.S. ’94, Ph.D. ’98, author of the young adult novel “The Swap” and middle-grade series “Skye O'Shea;” Robert Morgan, the novelist and Kappa Alpha Professor of English at Cornell; literary agent Scott Waxman ‘90, founder and CEO of digital publisher Diversion Books and co-founder of the Waxman Leavell Literary Agency; and Brian Hall, writer of novels “The Saskiad,” “I Should Be Extremely Happy in Your Company” and “Fall of Frost.”

At its most recent guest speaker event, Ithaca writer Angelina Mirabella discussed identity, point of view and their relationship to each other in her debut novel, “The Sweetheart.”

According to Anna Ravenelle ’17, vice president of fiction, an English major and creative writing minor, what makes the Quill Guild special is the sense of community that is present. “Writing is generally a solitary activity… but at the club, you meet friends and critique partners. [Writing] is a very intimate way to introduce yourself to someone. We get to know people who come back week after week.”

The club attracts students from all majors and disciplines, with backgrounds ranging from computer science to hospitality.

“It’s a new experience, and I really like the feeling of camaraderie here,” said Sara Gorske ’20, a materials science and engineering major. “I think it’s a great way to encourage people to keep writing and sharing and improving through the feedback we get.”

Agnes Shin ’18 is a communications assistant for the College of Arts and Sciences.  This article also appeared in the Cornell Chronicle.

NPR’s David Folkenflik ’91 to host ‘Dissident Writers’ event

McEneaney Memorial Reading features Irish author Cólm Tóibín

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'The Quill Guild' crafts a creative writing community

By agnes shin.

As the clock struck 5 on a Wednesday afternoon, a crowd of writers scurried into a bustling room in Goldwin Smith Hall, eager to meet with fellow writers and engage in an hour-long session of “critique speed dating.”

The writers belong to the Quill Guild , a creative writing club at Cornell that aims to create a community for collaborative learning and writing. The club, which meets every Wednesday, was established in fall 2015 by Aisha Rupasingha ’18, an English major and film minor in the College of Arts and Sciences.

“I was really frustrated that there weren’t any clubs devoted to creative writing without the need for publication,” Rupasingha said.

Members are free to bring any type of writing to meetings: some share short stories or spoken word poetry, while others bring narrative nonfiction, screenplays or pieces from novels.

In addition to meetings dedicated to sharing and critiquing, the club also hosts “write-ins,” in which members write, share and troubleshoot as a group, and workshop days, where members view presentations on how to improve their writing.

“You’re constantly pursuing the practice of writing … and it connects you to talented people who can look at your work and give you pointers on how to improve. It’s a refresher that you’re a writer and that you need to write,” Rupasingha said.

The club has also hosted guest speakers such as Megan Shull 91, M.S. ’94, Ph.D. ’98, author of the young adult novel “The Swap” and middle-grade series “Skye O'Shea;” Robert Morgan, the novelist and Kappa Alpha Professor of English at Cornell; literary agent Scott Waxman ‘90, founder and CEO of digital publisher Diversion Books and co-founder of the Waxman Leavell Literary Agency; and Brian Hall, writer of novels “The Saskiad,” “I Should Be Extremely Happy in Your Company” and “Fall of Frost.”

At its most recent guest speaker event, Ithaca writer Angelina Mirabella discussed identity, point of view and their relationship to each other in her debut novel, “The Sweetheart.”

According to Anna Ravenelle ’17, vice president of fiction, an English major and creative writing minor, what makes the Quill Guild special is the sense of community that is present. “Writing is generally a solitary activity… but at the club, you meet friends and critique partners. [Writing] is a very intimate way to introduce yourself to someone. We get to know people who come back week after week.”

The club attracts students from all majors and disciplines, with backgrounds ranging from computer science to hospitality.

“It’s a new experience, and I really like the feeling of camaraderie here,” said Sara Gorske ’20, a materials science and engineering major. “I think it’s a great way to encourage people to keep writing and sharing and improving through the feedback we get.”

Agnes Shin ’18 is a communications assistant for the College of Arts and Sciences.  

Media Contact

Rebecca valli.

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• Creative Writing Ideas How To Club

Creative writing – How to nurture your young authors

Get pupils into the scribbling spirit with these ideas for the classroom and after-school clubs…

Get children excited about creative writing and use it to get to know your students better with this advice from teachers and education experts…

Use creative writing to get to know your pupils

How to run your own creative writing club, creative writing year 6 project.

Want to learn more about your class? Just let them write, says teacher Simon Hunt…

It’s remarkable what you can discover as a teacher when children have the freedom to express themselves in their writing.

At the beginning of term, I use creative writing to understand where a child is academically and to help me get to know all the children in my class.  

Why not just give them a test, you ask? Well, you can learn a surprising amount about a child from a piece of their creative writing. 

Interests and passions 

The choice of topics and themes in their writing can unveil children’s interests and passions, which is an incredibly valuable thing to know. Whether it’s street dance, football or dogs, you can use this knowledge to help spark their interest in maths, science, or any other subject by tailoring examples to suit them. 

Emotional expression 

Creative writing also provides an avenue for children to express their emotions and thoughts, which will allow you to understand more about their feelings and concerns. It can unveil a child’s depth of insight and emotional intelligence that they may be hesitant to express verbally. This will really help you choose the right support for them through the school year. 

Confidence and oracy 

Reading aloud is an important part of writing stories, as it gives children the opportunity to practise their oracy skills: pitch, tone, and intonation. And, vitally, hearing them read out loud will allow you to baseline their reading fluency. Presenting their writing to an audience can be very intimidating though, so should be handled sensitively. 

Some children naturally have quieter voices and may avoid volunteering to read aloud, as they are aware that not everyone can hear them. In class, we have a pass-around microphone that children use when reading.

The microphone is connected to a speaker, meaning that everyone can hear them. The simple act of holding the microphone can significantly impact a child’s focus when reading aloud – often serving as a sort of comfort blanket, boosting their confidence.

Ultimately, the important thing to note is that stories are meant to be read and heard, and anything we can do to encourage that nurtures children’s literary and communication skills. 

Imagination and creativity 

Creative writing reveals a child’s imaginative abilities, giving insights into their capacity for original thinking and storytelling. It can be surprising to see the children that excel at this and can help to highlight an aspect of a child’s personality that might otherwise not have come to light until later in the term. 

How to make it work 

If we want children to be excited about creative writing, we have to be too, so think about how you introduce the lesson. 

I often begin by telling my new class about how I felt about writing as a child. I loved reading books, but I struggled at school with spelling and grammar (in fact I still do).

Sharing how creative writing helped me overcome my fear of writing allows me to explain how I realised that what was important was the imagination and creativity I could bring to my story. 

As a published children’s author, I show them the books I’ve written and connect them back to what I learnt at school. I hope this helps them to overcome their worries about spelling and grammar – I’ve found post pandemic that more children feel anxious about ‘getting things wrong’.

Of course SPAG is still incredibly important but in creative writing I really want them to tell me a good story. 

There are so many ways to understand the children in your class and what makes them tick and, as teachers, we’re attuned to gathering this information from day one. However, I think creative writing is one of the best because it gives us the basics but also tells us so much more about the child. 

Simon Hunt is a Year 3 & 4 teacher at an inclusive school in Greater Manchester and education consultant for 500 Words 2023, the UK’s most successful children’s story writing competition hosted on BBC Teach. He also advises on 500 Words Live Lesson, which you can  watch online .

Would you rather fly, or be invisible? Explore endless impossibilities and get pupils into the scribbling spirit with these ideas…

If you could wish for one thing, knowing that it would definitely come true, what would it be? A million pounds? To fly? Talk to animals? Live in a tree house? Travel the world at the click of a finger?

I’ve asked this question hundreds of times to thousands of pupils, and their answers are always imaginative, normally well thought-out, and quite often, impossible . 

I then follow it up with the question, “What if you could experience that thing right here, right now?” Cue eyes widening, ears pricking and backs straightening. “All you need is… a pencil.” 

Creative writing club

Before becoming an author, I ran creative writing clubs in 30 schools a week for almost a decade. I hired over 100 tutors, won some awards, teamed up with publishers to arrange author events, and even had requests from teachers in Europe, Dubai and Australia asking to launch a club in their schools.

There were long waiting lists in almost every setting, and teachers, parents and librarians would ask on a weekly basis, “How have you turned that reluctant reader/writer into someone that actually wants to do more writing after school?”   

Just another writer

The secret? First and foremost, I planned workshops that were FUN. I knew if I enjoyed running them, pupils would enjoy taking part.

I was just another writer in the room who talked about the books I was reading, collaborated on ideas, and asked for feedback on stories in the same way they asked me.

At this point I wasn’t a published author – just someone that loved to invent characters and write about fantastical, magical worlds.

I wrote alongside the students, making mistakes, scribbling over anything I didn’t like, and asking for help whenever I got stuck.

Everyone knew this was just ‘rough’ work. There was no pressure. No marking. No tests. And we didn’t have to share our ideas if we didn’t want to.

Jumping-off points

I genuinely looked forward to every single workshop I ran, and I know the students felt the same when they came racing into the classroom and didn’t want to leave at the end (yes, even the ones who ‘hated’ writing to begin with!).  

Of course, I couldn’t rely on pupils simply coming up with new ideas each week for enjoyment. I had to provide them with inspiration, jumping-off points, and exciting writing hooks, too.

For this, I turned to the experts – children’s authors. I chose five ‘Authors of the Term’ that I knew would enthuse and inspire the students, and designed workshops around their books.

This was always a fun part of the process – I looked for books that had wide appeal, simple concepts, and an excitable element that made my inner child say ‘ oooh!’.  Here are a few examples . . . 

Writing for pleasure

I used Abi Elphinstone’s Rumblestar to write fast-paced adventure stories. We plotted our adventures on maps, devised the main action in ‘cloud planners’, and focused on exciting ‘world-crossing moments’ to start our stories.

At Halloween, I chose books like Guy Bass’ Stitch Head and Joseph Coelho’s Zombierella , and ended each workshop with a spooky storytelling session where we turned off the lights, closed the blinds, and sat on the floor as if we were gathered around a campfire!  

The most successful workshops were the simplest. I used L.D. Lapinski’s Strangeworlds series and copied what happened to the protagonist when she jumped inside a suitcase and travelled to another world.

Pupils planned their new setting, focused on the five senses, and described the first thing they noticed when they arrived.

Their stories were thrilling, fast-paced, hugely descriptive, and completely individual, because they had the freedom to take their ideas in any direction they chose. 

I normally scheduled two sessions around each book – the first session involved planning and starting stories (or poems / diary entries / letters, etc), and the second session involved extending, improving, or continuing them.

I also added one ‘paint a picture’ session (using images for inspiration) and ‘free writing’ at the end of each term to give pupils a chance to finish their favourite piece of work.   

Remember, if you want to boost writing for pleasure, pupils should know that they can write about anything. Nothing is off limits, impossible or ‘wrong’.

And if you’re not sure how to start your first session, why not ask your pupils that if there was one thing they could wish for, knowing that it would definitely come true… what would it be?

Creative writing activities

1) distraction.

Beware: pupils love this game so much, they might ask to play it every week! The idea is simple. Children write for 10 minutes, in silence, and if they speak / laugh / stop writing for an extended period of time, they get a ‘strike’.

If a table gets three strikes, they risk not being allowed to read their work out. The twist? It’s your job to distract them!

Shake tables and shout ‘EARTHQUAAAAKE!’, steal their pens, use rulers as drumsticks, play songs they’ll want to sing along to, bust out the YMCA and get caught by a bemused headteacher.

Between the giggling and dancing in their seats, pupils will write so much in these 10 minutes, and it’s a great way to get them writing without overthinking.

2) Where am I?

Give students a setting (e.g. a library / the moon / horse stables / a rocket ship) and challenge them to describe it without saying where it is.

They should focus on the five senses. They must give at least three clues before the class can guess where it is, and the person who guesses correctly gets the next go.

The winner is the person who gets the most correct answers or the person that comes up with your favourite description.

3) Five-minute challenge

Tell pupils that most adults can write two lines in one minute, and then challenge them to write 10 lines in five!

Give constant time reminders, walk around the room shouting out ideas or words of encouragement, and watch their competitiveness soar.

This is a great game to play if, like me, you spend most of the lesson talking about books and story ideas, and realise there’s not much writing time left!

4) One-word game

This game is a great way to warm up imaginations at the start of a workshop. Ask pupils to stand behind their chairs and give them an opening line such as, ‘I was walking through the haunted castle when . . .’.

Walk (actually, it’s more of a run) around the room, pointing at each pupil in turn, and asking them to add one word to the story.

It must make sense and they have three seconds to answer. If they can’t think of a word, if it doesn’t make sense, or if they take too long, they are out and must sit down.

The winner is the last person standing. Note: when they get really good, try introducing a one-second hesitation rule – it’s hilarious!

5) What’s your problem?

Remind students that every story needs a problem to make it exciting.

Then ask them to stand behind their chairs and each give one problem like, ‘aliens invaded Earth’ or ‘I broke a fingernail’.

Problems can be big or small, but they must give an answer in three seconds, and they can’t repeat anything that’s already been said. The winner is the last person standing. 

Mel Taylor-Bessent is the author of The Christmas Carrolls and the director of the award-winning educational website, Authorfy . See more of Mel’s work at meltaylorbessent.com . Browse more creative writing prompts .

Combine twisting tongues and paperback publishing to produce an exciting writing project that allows pupils to make their very own book …

Have you ever tried to get your class excited about a writing exercise, only for them to pipe up with “But what’s the point?”.

We’ve all been there, and it can be incredibly frustrating when you don’t have an answer lined up.  

Well, with this project, the outcome is both evident and impressive!

As part of a workshop, we decided to show children the amazing process of publishing, while adding in some humour, and – of course – essential literacy skills…  

We visited Helen and her Y6 class for a morning, and explained to the children that we would do some writing that would lead to the publication of their very own paperback book.

We’d act as their agents, editors and publisher; they would have full control over all other aspects of the process.   

The class settled on tongue twisters as our subject, and began by inviting children to try out some old favourites.

After much twisting of tongues and accompanying laughter, we showed the children probably the best-known English example: the one featuring Peter Piper. Most knew the first line but didn’t know there were three more: 

Peter Piper picked a peck of pickled pepper.  

A peck of pickled peppers Peter Piper picked.  

If Peter Piper picked a peck of pickled peppers,  

Where’s the peck of pickled peppers Peter Piper picked?   

We challenged the class to compose 26 brand-new twisters, each following the  alliteration  pattern of that original but finding their own vocabulary.  

Dictionary skills

Helen organised the class into pairs or threes, and each group was given two letters of the alphabet to work on, ensuring no group got two of the trickier letters.

Armed with dictionaries, the children got to work, and by breaktime had produced some impressively inventive twisters.

Here’s an example, cleverly coping with one particularly difficult letter: 

Xavier Xmas x-rayed an extra-terrestrial xylophone.  

An extra-terrestrial xylophone Xavier Xmas x-rayed.  

If Xavier Xmas x-rayed an extra-terrestrial xylophone,  

Where’s the extra-terrestrial xylophone Xavier Xmas x-rayed?  

Although writing was the focus of the project, there were clear opportunities throughout for lots of worthwhile speaking and listening, too.

The pupils engaged in planning their tongue-twisters, and shared drafts in small groups.

Next, the groups came together to swap ideas and ask for opinions, and, finally, children read aloud their contributions and again asked for feedback.

Reading comprehension KS2

As the children worked, they giggled a lot, but the seriousness and concentration they brought to the task was impressive throughout.

The talk was easily focused, because, in  National Curriculum  terms, pupils were ‘discussing writing similar to that which they [were] planning to write’.

There was also a clear need for writers to read the original text very carefully, which was built into their discussion and planning for their own verses.

This focus was nicely balanced by the eager and sustained use of dictionaries and the need for creativity in their word-hunting, showing their ‘enjoyment and understanding of language, especially vocabulary’. 

Throughout, the process was always collaborative; writers understood they were working towards a shared, larger whole, and to tight deadlines, with a clear need for some ‘speedy writing’!

Once drafts were complete, all the children had to do some editing, and lots of proofreading. 

Paperback publishing

After breaktime, we explained that once we were gone, they, the writers, would be in charge. All 26 twisters must be typed up and emailed to us by the end of the week. For the book, they must write a blurb and an introduction, and choose a title.

We explained how easy and low-cost it is to self-publish; the only cost came with the ordering of actual copies and so they must settle on a price per copy and crucially decide how many they would like to order (sneaking in a bit of economics!).

The children listened with real attention to all this and asked a good number of questions after, showing a remarkably mature commitment to the task.   

Helen reported that the children very much liked the novel approach to writing.

They enjoyed their shared creativity and loved being entrepreneurs, relishing the involvement and control they had over the tasks, the decision-making, and the purpose.

For that short time, they had turned their classroom into a genuine publishing house and experienced purposeful writing for a real-world outcome – we won’t soon forget the looks on their faces when they saw their books for the first time.  

David Horner was a writer-in-schools for over twenty years. Mike Jackson is a former primary school headteacher. 

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The Creative Writing Club

Meeting weekly on zoom - join organization to see meeting link.

Formed by a creative aiming to find other creatives, this club was put into motion to serve as a safe and nurturing place for fiction/creative writers to join and share what they are most excited about in their writing world. We know just how precious little time students have after class and studying, so this club is meant as a wind-down and relaxation period where students can simply let go of the day and not think about class for an hour or so and let their creativity loose. Activities will include a period where students can share recent work, a  period of silent writing or brainstorming, and a time to just talk to one another or to officers for advice, pointers, tips, or any other type of writing-related topic.

Upcoming Events

General Meeting - Creative Writing Club

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Join our group to develop your writing..

Being a TigerLink member is the best way to keep in touch with the club.

The  Creative Writing  Club

At bucknell university.

Welcome to Bucknell's literary hub!

Check out what we're all about and what events you can attend as well as some literary inspiration and writing activities to get the ink flowing. 

- connect with us

@creativewritingclub.bucknell

WritersTalk Deadline

Submit by the 15th

2023-2024 Membership

$65/Year for New Members 

Whether your focus is fiction, non-fiction, novels, or magazine pieces, or you’re working on a biography or your autobiography—it’s all writing!!

And all writing involves research, interviews, organization, editing, and an opening that will make the reader want to stay with your story. What works? What doesn’t?

After a prominent career as the leading feature writer of the San Jose Mercury News’ Living Section, Mary Gottschalk will share insights gathered and reveal her inspiration and process for success.

Where:  Maker Nexus, 1330 Orleans Dr, Sunnyvale, CA 94089

When:  Saturday, April 13th at 10:30am

Admission:  $10 for members, $15 for non-members 

Check Out the Most Recent Newsletter

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All members are encouraged to submit their work for publication in the monthly newsletter by the 15th of the month.  Guides lines for submission  HERE .

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The Creative Writing Club

Q: What exactly does the Creative Writing Club do?

A: We do as our name suggests. We write! We host weekly general body meetings where we all get together and do some form of writing activity (a writing game, a specific prompt, etc.). In addition, the club also hosts Cafe Sessions, which are relaxed and unstructured time to hang out with other writers and work on whatever you want, and also Critique Sessions, where interested people submit their work and it is shared between members so you can get feedback on your writing. If you’re interested in more of a commitment, we also have our Group Novel project.

Q: When/Where do y’all meet?

A: We have our general body meetings every Wednesday from 7:00 to 8:00 p.m. in 317 Boucke. Our group novel meetings run immediately following general body meetings from 8:00 to 9:00 p.m. Cafe sessions/critique sessions occur ever Thursday from 7:00 to 9:00 p.m. in a new location every week (but don’t worry, we’ll let you know ahead of time).

Q: What is Group Novel?

A: The Group Novel is a collaborative project among interested members of the club. In one shared world with a loose overarching storyline, every writer has their own character (and usually a few other writers they work closely with) with which they can craft their own story within the shared universe of the club. We intertwine these various stories and characters and overall create one large, cohesive novel written by multiple people.

Q: How much commitment is the club?

A: The club has no commitment or attendance requirements. You can show up to just the general body meetings, just the cafe sessions, or neither (although we wouldn’t recommend that). You can come to meetings whenever you feel like it, or never. The only exception is the Group Novel. Because of the collaborative nature of the project, it does involved deadlines (approximately 1 chapter (~500 to 5,000 words) every two weeks), but once again, participation in the Group Novel is entirely optional.

Q: What are Cafe Sessions?

A: Cafe Sessions are unstructured time hosted by the club where members can just hang out, talk, work on writing, or do basically anything they want. They’re a very relaxed time to just get to know your fellow members, and also a great place to ask for writing feedback or bounce ideas off of other people, as you will be surrounded by other writers. People can come and go as they please.

Q: What are Critique Sessions?

A: Critique Sessions take the place of Cafe Sessions about once every month or two (depending on club interest). As opposed to Cafe Sessions, Critique Sessions do have a set goal. Prior to the session, if you are interested, you would submit a work of writing to the club (i.e. a short story, some poems, etc. Just please not your novel manuscript. We’d love to read it but we don’t have that much time) prior to the session. Once the session arrives, you will be given someone else’s work and be asked to read it and provide feedback, which you will do for a couple of different people. There are no names on the writing, so the critique process is completely anonymous.

Q: What if I’ve never written before?

A: Don’t worry! As long as you’re interested in writing, we don’t care your experience level. The point of the club is to just have fun and improve as a writer, neither of which require you to already be good at writing.

Q: Can I join?

A: Of course! Either email us at [email protected] or just show up. We’d love to have you either way!

Creative Writing Club

Hillsdale College

The purpose of the Hillsdale College Creative Writing Club is twofold: to cultivate a welcoming community of creative writers and to challenge those writers to hone their craft. As such, the club is a place where writers should discuss the challenges of writing, encourage each other, read aloud contemporary literature, and refine their creative, literary, narrative, and poetic sensibilities. In order to achieve these ends, the club has weekly meetings in which writers workshop each other’s poems, short stories, novel excerpts, and creative non-fiction.

Hillsdale’s Creative Writing Club is a campus organization that has been encouraging aspiring writers on Hillsdale’s campus since its recent creation in the spring of 2015. Although many of students may be inspired to write novels or poems when engaging in a culture composed of the great literature of the past and present, it can often be hard for writers to stay motivated or perfect their craft when working in isolation. So, several students banded together to form the Creative Writing Club to foster a community of writers to give feedback and encourage one another on Hillsdale’s campus. The club provides many opportunities for those interested in the writing process, such as our weekly meetings. At our weekly meetings, we begin discussion by examining a piece of modern literature and examine ways the potency of the work in relation to good writing, before examining one of our submissions to offer constructive feedback. Additionally, the club has been inviting various prominent modern authors such as Greg Wolfe and Mark Richard, helping bridge the gap between our small group of writers with the greater outside world of television and literary writing.

Membership Requirements

Students who have attended at least four of the club’s weekly meetings and have signed the club’s Mission Statement can become members of the club, allowing them to participate in board elections, run for election, and vote on amendments to the club’s bylaws.

Student Leader

Leah O’Donnell

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Faculty Advisor

Dr. Kelly Franklin

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The creative writing club is a safe place for creative minds to come together and hang out.  We enjoy writing, creating poetry, and sharing out stories together.  We aim to create a safe environment for college students to express their creativity freely and openly with like minded individuals.  Join us, make new friends and become part of our little community.  Everyone is welcome to join the Creative Writing Club!

Meeting Location: TBD

Club Contact Information:

Club Email:  [email protected] Club President : Lizzy Means,  [email protected] Club Treasurer : Joanna Wheeldin Club Advisor : Eric Atkinson,  [email protected]

Actions Panel

The creative writing breakfast club sunday 14th april 2024.

Join writer Laurie Bolger for Creative Writing Breakfast Club, a chance to get scribbling from the comfort of your own space via Zoom.

Date and time

Refund policy, about this event.

The Creative Writing Breakfast Club as featured in Time Out is a Free Flow Creative Writing hour with writer Laurie Bolger.

This session is about letting your creativity lead the way, generating new and exciting writing in your own unique style.

During this 60 minute workshop Laurie will take you through fast paced writing exercises to boost mindfulness. All you need is a pen and paper and somewhere chilled to sit and let your imagination do it’s thing.

"My first workshop of Laurie's & definitely won’t be my last… ideas exploding all over the shop - thank you, loved it"

Writing: Water Participant 2023

“Laurie’s workshops are a safe & at the same time dangerous place for writing..."

Writing The Seven Deadly Sins Workshop Participant 2022

“If you ever want a cosy, creative, calming place to explore writing, Laurie's workshops are perfection…My heart is so full (I know what that means now)”

Breakfast Clubber 2023

"Probably the best, most productive w/s I've ever attended. Fantastic. Thank you!"

Writing The Body Participant 2023

Laurie Bolger is a London based writer and founder of The Creative Writing Breakfast Club. Her debut collection Box Rooms has featured at Glastonbury, TATE, RA & Sky Arts.

Laurie’s work has appeared in The Poetry Review, The London Magazine, Moth, Magma, Crannog, Stand, & Trinity College Icarus. Laurie’s writing has been shortlisted for The Bridport Prize, Moth Poetry Prize, Live Canon, Winchester & Sylvia Plath Prizes.

Her poem ‘Parkland Walk’ was awarded first place in The Moth Poetry Prize judged by Louise Glück & was highly commended in this years Forward Prize for Poetry.

Laurie has collaborated with organisations such Google, as Small Luxury Hotels of the World, Nationwide, Mind UK & Choose Love. Laurie's latest publication 'Makeover' is to be published by The Emma Press next year.

www.lauriebolger.com

Instagram @lauriebolger_

Twitter @lauriebolger

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Santa Clara University

The jesuit university in silicon valley.

• Creative Writing Minor
• College of Arts and Sciences
• Academic Programs

The Creative Writing Program offers students a coherent course of study in poetry, fiction, and creative nonfiction.

The creative writing minor is firmly grounded within the liberal arts tradition, integrating courses in poetry, fiction, screenwriting, and creative nonfiction writing within their broader literary and cultural context.

Introductory courses familiarize students with the practice and theory of creative writing. Advanced courses offer a workshop setting in which students write and critique one another’s work. Electives focus on particular genres of creative writing, such as Lifewriting, Fantasy and Science Fiction, and Screenwriting. All creative writing courses incorporate some study of literature as well as close attention to students’  own creative writing.

English majors who complete the Creative Writing minor may use their Creative Writing track courses for both the major and the minor.

*English majors who complete the Creative Writing minor may use their Creative Writing track courses for both the major and the minor.

Two Introductory Courses:

• English 71 . Fiction Writing

English 72. Poetry Writing

Two Sections of the Practicum Course:  

• English 91. Literary Review Practicum

One Advanced Course:

• English 171. Advanced Fiction Writing or English 172. Advanced Poetry Writing (may not double dip)

Three Electives From the Following:

• English 73. Lifewriting
• English 74. New Forms for Creative Writing
• English 170. Writing for Children and Young Adults
• English 171. Advanced Fiction Writing
• English 172. Advanced Poetry Writing
• English 173. Screenwriting
• English 175. Creative Nonfiction
• English 176. Creative Writing and Social Justice
• English 177. Writing Genre Fiction
• English 178. Creative Writing and Performing
• English 179W. Playwriting
• English 179. Advanced Playwriting

All SCU students have the opportunity to work on the University’s literary magazine. Published twice a year,  the Review includes fiction, essays, poetry, book reviews, art and photography from the Santa Clara University Community and the Bay Area. In the Literary Magazine Practicum, one-unit courses offered every quarter, students discuss submissions.

Each year three department literary prizes for undergraduates are given: the McCann Prize for the best short story, the Shipsey Prize for the best poem or group of poems, and the Academy of American Poets “Tamara Verga Poetry Prize” for the best poem or group of poems. In addition, SCU participates in the Ina Coolbrith Memorial Poetry Prize, choosing three finalists to compete with other California university undergraduates. The winning manuscripts receive cash awards and maybe published in the Santa Clara Review.

The Writing Forward Reading Series  brings creative writers with international, national, and regional reputations to the Santa Clara University campus for readings, classroom discussions, informal meetings with students, and interviews with the Santa Clara Review literary/arts magazine. This collaborative program between the English Department’s Creative Writing Program and the student-run Santa Clara Review is grounded in the Department’s and University’s commitment to involving undergraduate students in research collaboration with faculty, and is dedicated to reaching out to both the campus and local communities.

Poets and writers brought to campus include  Robert Hass  (U.S. Poet Laureate, Pulitzer Prize),  Carolyn Forché  (Yale Younger Poets, NEA and Lannan grants),  Khaled Hosseini  (NYT Bestseller List, SCU alumnus),  Viet Thanh Nguyen  (Pulitzer Prize, MacArthur Grant),  Tobias Wolff  (Pen/Faulkner Award, National Medal of the Arts),  Reyna Grande  (American Book Award, International Latino Book Award),  Gerald Stern  (National Book Award, Guggenheim),  Juan Felipé Herrera  (American Book Award, National Book Critics Circle Award, US Poet Laureate),  Dana Gioia  (American Book Award, Chair of NEA),  Rigoberto Gonzalez  (American Book Award, Guggenheim),  Raina Leon  (Cave Canem and MacDowell Fellow),  Jim Shepard  (Guggenheim Award, The Story Prize)  Alexandra Teague  (Stegner and NEA Fellowships), Norma Cantú (MLA Distinguished Scholar Award), and  Cheryl Dumesnil  (Agnes Lynch Starrett Prize, SCU alumna).

Students majoring or minoring in English and/or Creative Writing and those working on the Santa Clara Review from a variety of majors are actively engaged in planning, inviting, and organizing the series, in close collaboration with faculty. This involvement gives undergraduates hands-on experience with the fields of writing, publishing, and public relations, while also ensuring that the series continues to speak to our campus population. The faculty-student collaboration that undergirds the series is also mirrored in interdisciplinary collaboration on campus and in community collaboration off campus. 

In the last few years, over two dozen SCU students who have studied Creative Writing have been accepted into M.A., M.F.A., and Ph.D. programs in Creative Writing at University of Virginia, University of Iowa, Syracuse University, New York University, San Francisco State, University of Denver, University of Montana, University of Arizona, Bennington College, UC Davis, Brown University, San Diego State University, San Jose State University, USC, among others. Several have received prestigious fellowships and teaching assistantships to these universities. English major alumni include Neal Jimenez, who won first prize at the Sundance Film Festival for his film, Waterdance, and Jeff Brazil, who won a Pulitzer Prize in Journalism.

• Jerald Enos - Theater and Dance
• Francisco Jimenez, Tonia Riviello - Modern Languages
• Diane Dreher, Ron Hansen, Claudia MonPere McIsaac - English

Kirk Glaser, Claudia MonPere McIsaac, Cory Wade, Juan Velasco

Fiction and Screenwriting:

Kirk Glaser, Ron Hansen, David Keaton, Claudia MonPere McIsaac, Tim Myers, Juan Velasco

Nonfiction:

Simone Billings, Diane Dreher

For more information, contact:

Kirk Glaser

Director Creative Writing Program (408) 554-4384 Direct (408) 554-4837 Fax [email protected]

• PHOTOGRAPHY
• NEWS & EVENTS

Richie Hayward

Vancouver Island Music Fest 7-11-10

We were all in anticipation of seeing Richie. It had been almost a year. We traveled up to Vancouver Island to play a concert, taking the next day off to visit with Richie and his wife Shauna at their home. Throughout that long year I had many conversations with Richie on the phone. There was not one time I didn’t hang up without crying. He was a brother to me, to all of us. Family. Our family. So much had changed. Gabe Ford, Richie’s drum tech for two-and-a-half-years was playing with the band. My girlfriend, Polly Gray, was coming up to meet me from Seattle. She had her camera with her. This would be the last time to document Little Feat and Richie together. Shauna had been posting on CarePages the last year, keeping everyone, fans and band alike, current as to Richie’s situation. Hope is everlasting, they say. We all wanted him back in the band. Gabe was ready and more than willing to move back into the slot of his drum tech if that happened. In my heart, I knew it couldn’t happen. When we arrived at the gig he was there with Shauna waiting for us. It was a tearful reunion full of hugs and love. Shauna posted what happened that evening:

From Shauna Hayward:

The band did several songs before they did Willin'. During Willin' Paul stopped and called Richie out to sing Don't Bogart That Joint with him. It was a huge singalong with the crowd. Richie then took over the drums from Gabe and played on Spanish Moon, Skin It Back and Fat Man. The band finished the set and all came to the front of the stage and did a wave and a bow. Richie stood slightly off stage only to play percussion for the encore: Oh Atlanta. It was amazing site and sound, lot`s of tears and cheers. Then the gig..... The weather had turned a bit cold, and the wind picked up....but did not take away from anything yet to experience. We kept Richie warm beside Dave's board, with blankets, and love, then Paul invited him up to sing the Jamaican national anthem! It was amazing x Smiles and laughter larger than anything I could describe x Richie was beaming x He played three songs....Spanish moon, Skin it back, and Fat man. I cannot touch with words...all that happened....just know, that it was the magic of love, everywhere

Polly took a defining photo of Richie that night. The joy on his face says it all.

A month later, August 12, 2010, Richie passed away. The band was in Falmouth, UK.

More tears. Where did all the years go?

Iowa Meets Hollywood, CA

I try and imagine what it must have been like for Richie Hayward to venture west from the confines of Iowa to the free-for-all of Hollywood, CA, La La Land, in 1966. Richie never struck me as someone with much patience; his entrance into the chaos and excess of that time must have resembled a balloon after someone let the air of it.

He was a buzz saw let loose in an environment of studied indifference to cultural norms, at least those norms associated with the 50’s that still lingered with some folks in the Midwest--one thinks of Iowa and conjures up images of fire flies flickering away on a hot summer night, the folks on the porch talking about the weather, family, Lawrence Welk, and the size of that pork tenderloin sandwich they had for lunch. Iowa. Flat, the heartland of America, flags, corn dogs, 4-H clubs and livestock at the State Fair, eating corn picked fresh right off the stalk in the ubiquitous cornfields. Then there was the weather everyone talked about incessantly and for good reason: the extreme heat and cold, incapacitating ice-storms, tornadoes, floods, droughts, locusts--Old Testament reckoning--more flat landscapes, and, ultimately, a place of mind-numbing reality conducive to over eating and inertia, or conversely lending to an over active imagination where one filled in the blanks. But for others it was a place for honing one’s skills to nuance, to an open mind and an acceptance of the beauty of simplicity, coupled with the desire to enhance it where one could. (I would recommend William Least Heat Moon’s book on Kansas,  PrairyErth,  for more on the minutiae of what lies beneath the surface of a place, its people and history.)

And while Richie tried and tested each of the above, nothing was going to keep him in Iowa. His imagination, along with one foot on the gas and one foot on the brake mentality, would never afford him that luxury (the foot on the gas took precedence).

He was destined to carve a place in musical history as one of the most unique and arguably best drummers there ever was.

Jagged cut to Southern California:  The famous LA haze could not obscure the confounding wreckage of tangled freeways, human lives, nor the anvil hanging over one’s psyche of potential disaster from the San Andrea’s Fault, which rumbled and shook the ground from time to time as a reminder that we were living on borrowed time. The noise and anarchy of Southern California resembled a fifty-car pile-up on the famous Grapevine, during an impenetrable fog. There was a “the dogs run free why don’t we” attitude led by Kim Fowley and his crazy crew of psychedelic adventurers. Fowley was part of Frank Zappa’s  Freak Out  album that heralded a break with the previous generation.

Frank had it right. LA was not cool. It was full of plastic people. But who cared?

People, plastic or not, were living on the fringe at a frenetic pace and there was no stopping the tidal wave of youth claiming their territory.

There was the lemming-like migrations to the Sunset Strip. Cruising down the Strip on a sunny day, the top down, one could almost hear the faint strains of “Kookie, Kookie, Lend Me Your Comb,” echoing off the nearby canyon walls, residue from a less complicated era. And at night, Gazzarri’s, Pandora’s Box, The Whisky A Go Go, and further off the Strip, The Troubadour, where the hip and curious met, crushed together like sardines, some dancing like a load of laundry in a washing machine at slow cycle, while others on the outside fringes drank, smoked pot in the corners, shutting out the world of freeways and congestion for another type of congestion that involved touching. LA is a city of cars, creating a bubble between you and them, and no matter that you could walk somewhere, you always drove. The clubs were where you had contact, real contact with others. The promise of sex filled the air. Free love was not a slogan any longer. People would just as soon fuck as shake hands. Valley girls liked having sex, their underarms and legs sculpted smooth. That was Southern California, complete with bronze surfer dudes and dudettes, Everybody’s going surfing, Surfing USA.

The thread that held everything together, while conversely threatening to rip everything apart, was music. There was a revolution in the works fanned by FM radio. In Southern California you had KMET, KMPX, KLOS, and the DJ’s that pioneered the free format: Tom Donahue, Jim Ladd, B. Mitchell Reed, Jeff Gonzer, Dr. Demento, and many others, where one could immerse themselves in the best of what we now look back on as a truly Golden

Age in music (Rock & Roll, Blues, Jazz, Folk). This free format stoked imaginations, gave a true sense of community in a part of the world that seemed devoid of any such concept, creating a soundtrack to people’s lives while providing context to events both local and global. The very basis of this experiment was to expand the idea of freedom and test the boundaries of authority. The Vietnam War and the attendant Draft drew the lines of demarcation between those pushing those boundaries and those who felt strict adherence to control of morals and duty to country. A collision course was set in motion like a huge wave hitting a jetty, the result manifest in the Sunset Riots. Nationally, the War protests, along with the Race Riots in 1967, fomented the Law & Order crowd Richard Nixon wielded into a political and philosophical base two years later—whose reverberations are still being felt today through the voices of Palin, Beck, Limbaugh, and Fox News.

What made it all so surreal was the lifestyle associated with the California experience, that still captivates people from around the world—sunny weather, fast cars, fast women, movie stars, the Pacific Ocean, and the varied landscape of mountains, beaches, and deserts.

Iowa and Hollywood might as well have been two completely different planets. And there was Richie Hayward in the middle of it all with a rage in his heart and mind that never really cooled out until he became ill some forty odd years later.

For those that knew him, saw him play, think of the motion in which he attacked the drums. A flurry of arms and legs, mouth opened, eyes wide open, a blur of sound and fury coming from cymbals, snare, toms and kick. It seemed that he could go off the road at any moment, crash and burn. That was the exhilaration of style and substance he brought to his playing, his life. It enamored many, frustrated and angered more than a few, was truly a marvel to witness, and left me more than a few times scratching my head wondering what the hell made him tick.

The Blur Begins

I met Richie summer of 1969. It is an absolute fog for me as to where I met him. Lowell George might have arranged for us to tag up the first time at a club around the Melrose area in Los Angeles—Lowell lived in Los Feliz, not too far away.

The club was dank, dark, and weird. There couldn’t been more than five people in the place. I have no recollection of a band playing there, although I’m sure there must have been some music going on at some point. What I do remember is seeing Richie and the two of us laughing about a guy that was semi-hidden in the recesses of the room moaning in a Droopy the Dog cartoon voice, “This is baaad, verwee, verwee, baaaad!!” He would quiet down for a few moments and begin the mantra again, always with the same inflection. And though we were laughing, there was a point where with arched-eyebrows Richie suggested we get the hell out of there. It was indeed, baaaad, verwee, verwee, baaaad!

For years we talked about it wondering what the hell the poor guy was going on about.

Not too long after that we met again at Lowell’s, Richie set up his drums and the three of us played some various songs and riffs. Nothing particularly coherent. I loved what I heard, though, coming from the drums, which is to say I had never heard anything like it in my life. Not as polished as Keith Moon or Mitch Mitchell, but we weren’t in a recording studio, we were in Lowell’s living room. Lots of cymbals, a wild kick drum and plenty of toms. Later, after he left, I asked Lowell if he was going to be in the band—we were in the process of putting players together for what would eventually be Little Feat (the name was either non-existent or up in the air at that point in time). Lowell told me that Richie was with the Fraternity of Man (“Don’t Bogart That Joint”) that played some prominence in the icon movie,  Easy Rider ). I said, “Lowell, how can he be in that band and be in ours?” He said, “Don’t worry, you’re going to play on their record and then they’re going to breakup, Richie will then join us.” Welcome to Hollywood!

The first year was spent looking for a record deal. We were approached by several labels, including Atlantic Records, where the President of the label, Ahmet Ertegun, after hearing our musical offering merely said, “Boys, it’s too diverse.” We jettisoned those songs shortly thereafter. Along the way we auditioned at least fifteen bass players at Lowell’s house, of which Paul Barrere was one of them—Lowell knew he played guitar, yet told him, “Don’t worry, the bass only has four strings.”

With a new lineup of songs, we finally approached producers Ted Templeman and Lenny Waronker from Warner Bros., this time successfully, which paved the road for bringing in the bass player we had wanted all along, Roy Estrada, from Frank Zappa’s band. He had been sitting on the sidelines waiting to see if we could land a deal or not. That said, Roy was a hero to me. The four of us journeyed into the beginning of musical history with Warner Bros. Records as our stewards.

Take a look at the old photos of Richie. He could’ve been a movie star. The mustache took on a D’Artagnan quality. Swashbuckling. Richie always had access to some great hats. On our first album , Little Feat , he is wearing a top hat taken from the Warner Bros. lot, I believe. They let us rehearse there in Burbank. There was a huge box with all kinds of hats in it, and, well, Richie took his pick. It fit him in every sense. For the album cover, we stood in front of a building in Venice, CA., of which was a winter scene painted by the L.A. Art Squad, featuring what Venice might look like if another Ice Age hit—no one was mentioning Global Warming back then, although it was nearly ninety degrees that afternoon and we were dressed in big overcoats and winter hats. Out of all of us, he was the only one of us with any style for the occasion. It didn’t occur to me that Richie was the only one with any real experience for winter, having been raised in Iowa.

The memories I have, many of them, are fragmented, especially from the early times. It was such a free-for-all back then. Paul, Fred, and I were talking with Mac Rebennack (Dr. John), one night in Clearwater, FL, about the craziness of those times. Mac offered his condolences. Earlier, before Paul and Fred showed up, he told me he had lost four friends in the space of less than a week. Life was moving fast. There was no doubt we lived through a remarkable time period, he said.  It was all brand-new, and, in many ways, uncharted territory. I told Mac that when we joined Warner Bros. in 1970 the roster included him (Mac was actually with ATCO, which was part of the Warner family), Ry Cooder, Van Dyke Parks, and Randy Newman. I was absolutely floored that we were in that kind of company. It was a period of genuine financial help from the music industry. Warner Bros. funded our first tours, for example. Touring was a channel, as much as having a hit record--which Little Feat never had—to reach an audience. Live music. Real players. We were in heaven, and hell, as it turned out. This is where we really got to know each other. On the road.

Singing about Football

Little Feat’s first tour started December 25, 1970. We were in Cincinnati, OH, at the Reflections Club. It held about a thousand people. We had two nights booked. The place was packed to the rafters. We figured out very quickly that the crowd was not there to see or hear us but to engage in the raucous singing of football songs. Ohio State was going to the Rose Bowl. No amount of volume from us on stage could drown out their singing. Amazing. Richie had some ideas of his own to try the second night, though.

Same ol’ crowd was hanging out again…. (reminds me of a song). Richie said he wanted to introduce the band. Lowell and I looked at him, shrugged, and said go ahead.

He sauntered up to the mike, unzipped his pants, took out a sausage, cut off the tip, took a bite and introduced us to a thousand crazed Ohioan football freaks singing and screaming the same songs they had sang the night before. Not one of them took any notice. Richie stomped back to the drums, sat down and with a “FUCK IT!!” counted off the first song, hitting the snare as if he was punching everyone in the place out.

Years later, I discovered that a few folks did indeed witness Richie’s introduction, those of which included Craig Fuller, Craig (Sarge) Shertz (who many years later was our front of house mixer for the Let It Roll tour and follow-up tours—I had also worked with Craig on some James Taylor tours in the early eighties), some folks from the sound company Show Co, and a couple of folks from WB, all of whom were prominent in our career. All told about nine people out of a thousand. It was like something out of a Dickens novel. As in so many things in life, there is no way anyone could have scripted it.

(The Ohio Buckeyes, coached by Woody Hayes, lost the 57 th  Rose Bowl to Stanford, 27 to 17.)

That first tour also took us to Buffalo, NY. I was with Richie in a supermarket, he came around the corner and said, “Think Fast!” He threw a grapefruit right into my stomach, knocking the air out of me, doubling me over. I wondered why the hell he did it, and when I finally got my breath asked him he wasn’t being malicious about it, but he didn’t have a response either. I just figured I would have to watch him from there on out. In an attempt to save money, we had to share rooms. My partner was Richie. This lasted about two nights, as he would leave the TV on at all hours. I couldn’t sleep with it on, and he had no intention of going to sleep until he was damn good and ready, usually around 4 or 5 in the morning. This was not going to work. I later thanked him, as the result of our incompatibility warranted getting my own room, at least on that tour.

I never roomed with him again.

Carole Drive

Off the road I had more than a few times where I couldn’t afford to have a place of my own. Despite the fact we didn’t room with each other, Richie was always generous to me. I lived with him and his family on and off a few times over the years. One of those places was a Spanish-style apartment complex located on the border of Hollywood and Beverly Hills. We were just off the Sunset Strip on Carole Drive, adjacent to the Cock & Bull Restaurant and their parking lot—we had to park on the street. Bing Crosby’s brother, Harry, having consumed more than his quota of drinks, lost control of his vehicle and ran into my car, a 68’ two-door blue Chevy—it looked like something the narcotics squad might drive. I was encouraged mightily by the Hispanic parking attendants to sue him, which I couldn’t do. I felt sorry for him. Just down the street, an easy walk, was the Whisky A Go Go. Still, as close to the action as we were, there was a tangible tranquility to the area. The apartments were spread out and divided on two sides of a pleasant  walkway. Hollywood scriptwriters, drug dealers, musicians, occupied the premises. Everyone knew each other. Richie and his family lived in one of the two-story-structures. He was married to Pam Hayward, one of the Price sisters. Pam was a dominant force in his life, and a disruptive one at that. (She had two other sisters, Patty and Pricilla (Prissy), married to Lowell George and Rick Harper, respectively. “Uncle Rick” was a dear friend of the band and our first tour manager. Their mother, Lulu Belle, was a famous session singer, having performed on records with Ray Charles, “I Can’t Stop Loving You;” sang the high part on, “The Lion Sleeps Tonight,” and the theme to “Star Trek.” She was a true Southern belle.)

Richie, Pam, and their young daughter, Rachael, lived in the apartment closest to the front on the left side as you entered from the street. It was tucked just far enough away to provide a realm of privacy. Richie and Pam held court there, night and day. There was a round table just off the kitchen where everyone would convene for conversation, the partaking of sacrament (coke) and drinks to take the edge off, along with reefer madness. Lowell used to sneak up on the south side of the apartment, negotiating a narrow pathway between Richie’s and the apartments next door, and press his face against the windowpane scaring the hell out of us. Laughing, we would then encourage him to come around and join us. (On the  Let It Roll  album recorded in 1988, we made mention of Lowell and his antics in the song, “Hanging On To The Good Times.”)

Despite the high-octane drugs, there was also some of the best guacamole I’ve ever had, served with Richie’s favorite: chicken taquitos.  Muy rico . The conversation was incessant. I’m sure we solved the world’s problems ten-fold night after night, day after day. Richie was quite manic a good deal of the time. More than once he wanted to kick in the fireplace in the living room so he could have a real fire rather than the fake, gas log variety. Every time we would have to talk him off the roof. No! Don’t do it! You’ll have to pay for it. Relax!! It got to be a routine scenario we would all play our part in. Clenching and unclenching his fists, he would invariably give up and move off to another room sputtering profanities. Funny thing is, a few years later the apartments were vacated—the owners had sold them, given us notice—and were scheduled to be moved and carted off to another part of town. They literally lifted them off the lot one by one. In the process, the workman had to rip through the fireplace in Richie’s apartment. They found a stash of sixty thousand dollars worth of silver certificates, apparently stolen in a bank heist from the Thirties. When Richie found about this he was apoplectic.

As I pointed out earlier, Richie’s life rotated between the one foot on the brake and the other on the gas, Part of the brake was his family. As crazy as Pam was--and he was right there with her--he would be the one to have to hold it together sometimes—a tough task given his desire to put the pedal to the metal and let it fly. It clearly frustrated him to be in that position. He loved his family, don’t get me wrong, but he clearly needed some help and wasn’t getting any. His solace was playing drums. Whether at a rehearsal or on stage, they formed the environment for his freedom. Sitting behind the drums and playing was one of the few places—other than racing his car around the curves of the canyons or straight-aways in the Valley, or later riding his motorcycle--where he felt he could just be himself. He loved motion. But, to his unending grief, whether playing the drums or riding his motorcycle, he was ultimately held accountable. The laws of human interference and physics were unbending. Richie held to the quick starts and stops, brake and gas, brake and more gas, as a means to deal with the fleeting freedom offered him.

Tripe My Shorts

Richie’s sense of humor was legendary. I’m convinced his irreverence and inventiveness with phrases and words was an Iowan concept—Iowa has many towns with different pronunciations: Madrid (Mad-rid), Cairo (Cay-roh), Nevada, (Nuh-vay-duh), Berlin (Burr-lin). He could take just about anything and turn it into something else. He would chant: Yom Na Ho I want a Pinto!! He wound up with a Mustang years later (I guess it worked to a degree). One of his play-on-words took place at Lowell’s house the first year of the band. Richie was listening to a song I wrote. He thought it sounded good and asked me what I called it. I said, “Thanks For Everything.” He said, “Snakes On Everything?” A nanosecond later I said, yes, “Snakes On Everything.” To this day I’m not sure if he was messing with me or really thought I said it. I never brought up the subject again. The song title stuck and appeared on the first Little Feat album in 1971.

One of the ironies of Richie’s use of words was the lack of them in our songs. He and I wrote one song, “Tripe Face Boogie.” He wrote the lyrics, I provided the music and melody. The curator at the Rock & Roll Museum in Cleveland, OH, eleven years ago, asked me if I had anything I would like to contribute. There were some notebooks I offered that covered the beginning years with Little Feat. Everything from the formulation of lyrics to a general list of ideas, hopes and aspirations, that I documented, some cartoon doodles, legal documents from Warner Bros. One of the items I was looking for was a lined yellow sheet of paper that had a character drawing of Richie’s along with the lyrics to Tripe Face. I was in my garage in Calabasas, CA, looking for it. The place was a mess, boxes and paraphernalia everywhere. I was balanced on some boxes, there was a ladder lying on its side. As I stepped from the boxes onto the ladder my right leg slipped through and I cut myself. I wasn’t badly hurt but the pain more than caught my attention. There was a sizeable gash that took many weeks to heal. All of that and I didn’t find the box with  Richie’s lyrics. Later, I finally found it in the one place I hadn’t looked, had in fact said didn’t exist. Cheryl told me to look just inside the door to my studio on the left, there was a small door there, and behind it were some boxes. I kept saying there wasn’t a door on the left; there was a door on the right with boxes, too, that I had looked at a few times with no luck. I was wrong, there indeed was another door on the left hand side. It held a treasure trove of lyrics, music, notebooks and day-at-a-glance yearbooks, along with tour itineraries and the accompanying financial results from our accountant. I also found Richie’s drawing and Tripe Face lyrics.

Little Feat’s Clubhouse

Over the years we rehearsed at quite a few places around Los Angeles. One of the places we hung out was on Cahuenga Blvd. West in Studio City. We rehearsed in the evenings, as there were businesses operating during the day. It was Little Feat’s clubhouse, in effect. Lowell was rarely there. He didn’t like rehearsing. For the rest of us it was a chance to just play, try things, jam. I had a cassette recorder, nothing special, to document what we were doing. Miles Davis had “Bitches Brew” out and we were doing our version of that kind of thing. The instrumental we came up with was called “The Jungle.” I used to record dialogue and music off of old movies on television with that recorder: The Marx Brothers, “A Night At the Opera,” “A Day At The Races,” and “Go West”(there was a section of music from a song, "You Can’t Argue With Love” that I did a take-off on for the ending of Paul’s classic song, “Old Folks Boogie.”) “The Jungle,” was taken from a movie of the same name with Cesar Romero, Rod Cameron, and Marie Windsor. The script revolved around a search for some elephants that killed Rama Singh’s (Cesar Romero’s) brother, and that Rod Cameron was responsible. Cameron, who had escaped a horrible death, was also frowned upon as a coward. He said that wooly mammoths (thought extinct, so how in the hell….never mind, it’s Hollywood, sort of, filmed in India) had killed everyone.

There was a wonderful score of Indian music accompanying the film. I played some of it for the band. We then took off on our own thing and starting jamming in a really aggressive groove. Paul and I got to one section and started playing a lick out of nowhere simultaneously. We couldn’t believe it! It went on and on. Richie was in a syncopation that I had never heard, Kenny right with him, Sam Clayton had an absolute lock on the groove. There was zero compression on the recording so everything was just huge. This jam was the antecedent to “Day At The Dog Races.” When I went to play it back I was listening to film. I heard Marie Windsor say, “Maybe they know where the wild herd is Rama Singh.” Somehow I hit record again, realized what I had done and let out an OHHHH NOOOO!! I was starting to record over our jam. Thankfully I stopped it in time--the tape is now missing in action.

This was the height of our taking off on instrumental excursions with our music. We simply carried that spirit over to the stage. It might have been why Lowell felt left out, and would literally leave the stage, later when we’d play “Dog Races.” It was our playtime, jamming was fun for us. We tried different grooves every night. In terms of the freedom we felt, particularly Richie, playing in that rehearsal room, I’m not sure it was ever quite the same again. The Alley, in North Hollywood, was another great place to rehearse, but we were a lot more regulated in what we played by the time we got there, and besides, there was a dramatic change about to take place with Richie and Little Feat while we were at that rehearsal hall on Cahuenga.

Lowell had had it with Richie and asked him to leave the band. There was concern about his playing, his attitude was defiant when asked to pull it back a bit and just play a regular groove. It was sad given how much fun we had been having. Lowell said let’s get someone else. We all went with the flow. Freddy White, whose brothers, Maurice and Verdine, played with Earth, Wind, & Fire, came into the band for a brief stint. Freddie was laid back in demeanor, to the point that we called him Mo, for Molasses. He was quiet and humble. He fit in nicely. He held a steady beat, simple but effective, a groove oriented player, very solid. We did at least one tour with Freddy. Back in town at the rehearsal hall on Cahuenga Freddie and I jammed together a few times and fleshed out the groove for  “Day At The Dog Races.” I cherry picked melodic lines listening to a cassette of our one-on-one jams to create and complete the instrumental. Later, a change of mind took place on all sides. Richie came back into the band, while Freddy joined Earth, Wind, & Fire. Maybe things had been running too smoothly, I don’t know. I’ve always thought we thrived on the tension, of which with Richie back in the lineup there was still quite a bit, but a wary truce was in order for the time being. The ups and downs of the band are more than I wish to relate, to be honest. Let’s just say trying times were in abundance.

With the exception of the first year of putting the band together, Little Feat was a launching pad for playing on other artist’s projects. We were, and still are, known as a musician’s musicians band. This is what Lowell and I had discussed from the beginning.

A Slave to the Music

Richie told me a story of working with Ike Turner. I’m not sure of the year; it was either 1974 or 1976. (It very well could have been in the time when Richie was not working with Little Feat.) Richie was at Ike Turner’s studio recording some tracks--Tina Turner was not involved in any of the following. It was a nightmare scene. Lots of blow, a gun on the console, a room where Richie could crash, but with all the drugs he was ingesting he wasn’t getting a lot of rest. Richie had told Ike a few times that he had things to take care of at home. Ike wasn’t letting him out of the studio. The gun next to the blow said it all. This went on for a couple of days or so. Out of sheer exhaustion Richie collapsed in the room provided for him, when someone burst in roughly waking him up and shouted, “We’re gonna play on Don Kirshner’s Rock Concert, GET UP, LET’S GO MOTHERFUCKER!!”

Kirschner’s show had a huge following. The filming was done in front a large and rowdy concert crowd. Filming is always a pressure situation, but this was through the roof. There wasn’t any time to run anything down. There were at least two other acts on the bill. Richie was completely crazed from lack of sleep, and wasn’t told until they showed up at the taping what song they were going to do. He told me, in fact, he didn’t know the song at all and was asked to count it off. On top of it all, the bass player in the band hated Richie. He had been on his case in the studio the entire time. He didn’t like a white guy from Iowa playing in the band. He was staring darts at Richie while hurling verbal abuse. Nice atmosphere for performing. Richie told me he was so scared he just launched into the song somehow and managed to pull it off. The whole episode sounded incredible to me; but years later, Jeff Porcaro, Toto’s drummer, told me essentially the same story of being held captive in Ike’s studio when he worked for him.

If You’ll Be My Dixie Chicken

In 1972 Paul Barrere joined Little Feat. Richie told me about Paul, a gifted blues guitar player and singer who was playing a concert with his band, The Lead Enema, in a loft in downtown Los Angeles. Richie and I agreed that Paul would make an incredible addition to the band. It didn’t take much to get Lowell on board, as he was feeling he wanted to play less rhythm and more slide. The band was in a major transition following the album,  Sailin’ Shoes , and the subsequent tour that followed its release. We had lost Roy Estrada to Captain Beefheart’s Band. Roy needed a break. We needed a break. It was collectively what the doctor ordered, for us, at any rate. We needed a bass player. I was fearful we would be going through the same cycle we had been in the first year the band formed, with bass player after bass player trying and failing. Dolf Remp, one of the owners of S.I.R., heard we were on the hunt and told our road manager Rick Harper about Kenny Gradney.  Kenny and I got together to play a bit, try some songs, and the search came to an abrupt halt. He was amazing. The band was rehearsing at the Warner Bros. lot in Burbank for a Hawaiian gig, The Crater Festival. Kenny said he wanted us to meet his partner, percussionist Sam Clayton. Both Kenny and Sam had been working with Delaney and Bonnie. Sam fit like a glove from the get-go as far as we were concerned, but he had reservations, which vanished after playing in front of forty-thousand people inside the Diamond Head crater in Honolulu. Our sound was looser, more aggressive, less song-oriented, more emphasis on playing. We swung into a new gear entirely.

The next gig was at the Fox Theatre in Long Beach, CA. I was laying down on a hard bench between sound check and the show that night trying to sort out how to arrange “Tripe Face Boogie” and turn it into a jam. What I envisioned was Richie and I, along with Sam, going free-form and then, on my signal, doing a signature lick that was already in the song, bringing everyone else into familiar territory. It was the beginning of years of Richie and my excursions into the known and unknown. Jamming, but with a crucial difference. There were chord and rhythmic changes, patterns that turned familiar surrounding by much that was unfamiliar, evolving each night, each year, through many tours. It was not long after that night in Long Beach that the jam in “Dixie Chicken” materialized, leading to “Day At The Dog Races,” “Day or Night,” “Mercenary Territory” and others. A good formula, that to this day, with Gabe Ford, is still a very much an active part of the show and the way we approached our song writing.

Influences and the Dance

What made Richie’s style unique can be traced to his influences: Mitch Mitchell from Jimi Hendrix’s band; jazz drummer Elvin Jones; The Who’s Keith Moon, to name a few. Each one of these drummers utilized a lot of cymbals, interesting kick drum patterns, snare and tom hits, an orchestral range of intensive ebb and flow motion, enveloping the other instruments in a veritable wash of sound. It was not an exercise in simply keeping the beat. It was about adding colors and filling arrangements with percussive accents.

Richie was certainly capable of hitting the regular 2 & 4 in a rock and roll song, a la “Oh Atlanta,” but left to his own devices he would use his cymbals, jazz strokes on the snare and high hat, and toms to infer those beats. When he was on, he was as good as there was. When he faltered, it gave the audience and band alike the feeling of going off the cliff, and then he would pull it out of the tailspin. Usually. He was completely unconventional in his approach. When it was just Richie and myself playing off one another, the effect was magnified, as I would change tempo or go with him if he did, moving in and out of genres (jazz, New Orleans, rock and roll, cartoon music, avante garde musings) in the course of a improvisation that only the two of us could play. It was our dance, and on more than one occasion a brilliant one. We were both reacting to what each other played at lightning quick speed.

(The dance continues with Gabe Ford.)

Accidents Happen

Richie was involved in two motorcycle accidents, one of which was documented on the back of one of our albums,  The Last Record Album . The second one took place a few years later. Richie was back on the bike, having nearly lost his life in the first accident, to see Lowell, who was rehearsing for his solo tour at the Paramount Ranch in Agora Hills. (Later, we finished  Down On The Farm  with engineer Ray Thompson and assistant Billy Youdleman and the Wally Heider Mobile that was on the premises.) Some kids speeding by in a car yelled something at Richie, who turned to take a look on curvy road and drove the bike into a huge rock crushing his femur and tibia. It was another horrific accident. One of Richie’s legs would be shorter than the other after this.

Richie was in the hospital in traction. I had left the band, essentially, and Lowell had promised the guys that he would put it all back together when he got off the road. It never happened. He died on tour, June 29, 1979. We were in the middle of recording  Down On The Farm . It was a very dark time for all of us. Richie was just beginning to see just how dark things could get. The brakes were back on, and back on hard.

That August we put on a benefit concert for Lowell at the Forum in Los Angeles. Richie was unable to join us, as he was still laid up. A dear friend of ours, Rick Schlosser, sat in at rehearsals and for the event. That concert marked a farewell salute to Lowell and what was the beginning of the end for Little Feat. Other than going into the studio in 1980 to record a couple of songs for  Hoy Hoy  it was pretty much over. A new era was launched. It was every man for himself.

And later on the moon declined to shine its light so benevolently its grace withheld from our company     (lyrics from Under The Radar)

The Wilderness and Back

Richie’s whereabouts was a complete blur to me. I kept up with him on rare occasion. To be honest it was difficult for me to even think about Little Feat. I don’t know if it was that way for anyone else, but the time had come to explore new territory. I heard that Richie was touring with Joan Armatrading and Robert Plant. He lived over in Majorca for a while. I was hiding in my own world with Linda Ronstadt, James Taylor, Jackson Browne, and others. I was proud of having been in Little Feat, but I was battling coming to grips with my feelings over Lowell’s death, my fights with him, and all that comes with being close to your brothers in the band. I just put my head down and tried to find fresh air.

Years later, after the band came back together for another ride, I was impressed by how everyone had really grown in that time of wandering. We had worked with some of the best and brought that knowledge back to feat. Richie was still Richie, of course, just a bit left of center, but somehow more grounded in his playing, more mature. He continued to amaze me as someone that had the mold broken and completely shattered in his style of playing. And while Richie was held in high esteem by most, I’m not sure he was always appreciated for just how truly outstanding he really was. He made it seem easy. It wasn’t, as a couple of really great drummers found out.

We were on a big summer tour as an opening act, onstage in front of a large and enthusiastic crowd. “Let It Roll” was on the set list and we were ready to launch into it hard and fast. We started in on it and what I heard coming from the drums scared the hell out of me. I thought Richie had suffered a heart attack. The beat was so incongruous it was as if the person was flailing to keep up with the band. I turned around in a panic and saw it was the drummer from the act we were on tour with. To be fair to that person, I’m leaving his name and the band he played with out of this. The look in his eyes was HELP! My look said, “You are in the hot seat, PLAY!” Later I went up to him and said, “I’m sure you thought it was an easy groove, right?”  He said, “Yeah” in a low voice, his head down. I told him not to worry, that many folks had underestimated not only Richie, but the band itself, as to how easy it was to play our music. I wasn’t crowing about it, it’s just a fact. The changes are not simple, nor is the groove, as he found out. I know his respect for Richie went up immeasurably after that incident. The same thing happened when we were in the studio cutting a record with Tony Brown. Richie was on tour with Eric Clapton. The person playing drums, again I won’t mention who it was, wanted to play “Dixie Chicken” in between getting the sounds and starting the track we were hired to play. We took off on it and it just fell apart. He just couldn’t play it. Again I said, sounds easy, right? You know the rest of the story.

Broken Bones and Signs of Things to Come

Richie would continue playing injured. The motorcycle accidents were one thing. I’m quite sure there were residual aches and pains that accompanied him every night on stage. In New York City he jumped over a turnstile—he didn’t have the correct change—and broke his right foot, the one he used to play the kick drum. He wrapped it up and played through the pain. I believe he stepped off a curb years later and either broke it again or sprained it. He played that night. He had an amazing capacity to perform no matter what. To be honest, everyone in the band at one point or another has had to play hurt. It comes with being on the road. The show goes on.

Richie’s playing in the late 90’s was starting to get more and more erratic. By 2000 and onward something was definitely wrong. He would be brilliant one night and then just drop off into something else. He was hesitating between the beats at times. I asked him about it and he didn’t know what I was talking about. I suggested he listen to a tape, as every show we did was being recorded. He never did. But even on his worst night he was so much better than a lot of drummers. Still, I was worried about him. His breathing, while always short, was getting worse—he had asthma, smoked too much--well, he did just about everything too much. And while we would joke that he would probably outlive every one of us in the band, I began to believe that much of that talk was just our whistling past the graveyard.

A Proper Band

Eric Clapton came to hear us in Detroit. He brought his band with him to the concert. I saw him backstage and thought I would drop the question as to why, after having seen us in NY a week or so before, had he come back again with his band mates to yet another Little Feat gig?

He said, “I wanted my band to hear a proper band.”

I loved that comment. It said a lot about what Little Feat has always been about. We were not rock stars; well, not  all  of us. Richie played a stint with Eric, and later Bob Dylan. To my mind, a proper band or not, rock stars or not, Richie Hayward  was  a rock star. He lived the life, dressed the part, although nothing ostentatious: cool scarves, hats, clothes, and shoes. He was bigger than life. Richie was beyond question a natural at what he did as a player. I never saw him play on a practice pad before a show, ever. No real warm up, just got out there on stage and starting pounding away. Girls in every port, the adulation of professionals and fans alike, the ability to endear himself and distance himself with people with a manner that suggested an insular world privy only to a few. The one constant that ran in all of his relationships was his lack of confidence. Whenever he would come off stage he would invariably ask, “How was I?” And he would absolutely mean it. I was used to the question after years of being asked, but others that had just met him were floored when he’d confront them with it. He wasn’t looking for a critique so much as affirmation of his having played well, or, as important, that he hadn’t sucked. And though it wasn’t that cut and dried a proposition, he was truly at odds with his ability to judge from performance to performance how he did, how he was perceived.

Little Feat played the International Jazz Festival in Rochester, NY on June 10, 2006.

Richie had a miserable night, came off stage and asked me, “How was I?”

There had been plenty of nights over the years where I would lie and say hey you were great, or just tell him it was mostly okay with the exception of a song here or there.

I would nail him sometimes and tell him what I really thought, but tonight was different.

I asked him a question.

“How do you think you did?”

“I wasn’t very good tonight at all.”

I asked him if he had trouble hearing everything and he said no, he could hear the monitors fine, it was just something wasn’t clicking for him that night. He was really feeling bad about it. I thought it best to level with him. I suggested first and foremost that he stop using the band as his own personal practice pad, that if he was having a tough time to ease up on what he was playing. Not to try every lick he could throw into a phrase.

I said, “You need to simplify your playing, gain confidence, and then play your fills.

But to thrash away hoping you can get into a groove, hold it, while trying to execute fills that are beyond your reach at the moment is not helping matters.”

Lastly, I told him to play softer, just slightly softer to aid in the adjustments. (Playing live requires a series of adjustments. The louder you play, the less chance you have to recoup any sense of sonic stability. You’re just creating and adding more noise.)

I then told him the part I knew would devastate him. I didn’t really have a choice. This was something he needed to know.

“Richie, Steve Gadd was in the audience tonight.”

Richie visibly sagged. Steve Gadd is not only a brilliant technician on the drums but with all the “feel” in the world, as well. He was the last person Richie wanted to know was there that evening. Steve was one of his icons. I told him that Gadd was more than capable of knowing that everyone can have a bad night from time to time. But I then went on to tell Richie that he would be doing himself a favor if he thought of Gadd being there every time he went onstage. I said, “The truth of the matter is there are musicians and regular fans from all over the world that hold  you  up as an icon. These folks revere you. You owe it to them each time you sit behind the drums to give the best you have. You owe it to yourself and to us.”

I have wondered about his insecurity for years, and his ability to set himself up as a target. He drove all of us in the band crazy at times, and of course, we drove him crazy, as well. His big question was always WHY? This would be for anything from travel plans, to playing something a certain way, to the catering…really, just about everything. WHY? Richie had a great intelligence; the “why” was a reflexive question.

Ted Templeman was producing  Time Loves a Hero . Paul and I had approached Ted to work with us. Lowell had suggested that Paul and I get more involved in the band. Lowell moved to the sidelines on this project, not entirely, but enough to give the band some more room. I had worked with Teddy on quite a few Doobie Bros. albums. Ted liked to make sure the drums were tuned to perfection. That was how he and Donn Landee, a truly stellar engineer, came up with great sounding records. They built the overall sound of the record around the drums.

Ted had patiently told Richie his plan more than a few times before we went in to record. Ted is a quiet person--not a lot in the way of theatrics. But Richie was not dialed in on his approach. To that end, Ted told Richie point blank, “I will make sure your drums are tuned every day. DON’T TOUCH THEM!” Richie asked WHY? Ted silently fumed and looked at the ceiling, turned to me and shrugged as if to say, what is with this guy?!!

Every day Richie would arrive at Sunset Sound, jump behind the kit—Ted had already been there hours earlier getting the tuning to his satisfaction--and began retuning the snare and toms. Ted was beside himself. I told him that I didn’t think Richie was doing it to piss him off, he just couldn’t control the urge and leave them alone; he  had  to fiddle with the tuning. It was apparently a nervous tic. I could only guess. It didn’t matter how many times Ted told him to lay off and leave the drums alone, Richie would show up the next day oblivious to any of Ted’s instructions. It was funny in some ways and frustrating in others. Years later, George Massenburg hired an expert to tune his drums and the very same scenario took place. Why, indeed.

I began to notice other patterns in his demeanor, one that took many more years, on my part, to fully comprehend. It was his inability to figure out the arrangement of a song  unless he was able to take it from the top each time. If I said, let’s run it from the last verse into the final chorus and from there I’d like to make a change that would affect the ending, he couldn’t absorb the change. He didn’t read charts, so that didn’t help either. Richie’s drum style was based on reaction to what he heard. It wasn’t about the progression of a form that held his attention. In a certain sense it made him a more pure player. It did not, however, give him much in the way of confidence to be constantly under the gun to learn new twists and turns involving nuance and precision to arrangements. Basically, that never changed. I tried through eye contact and body motion to show him where an arrangement was going, when something was about to be cut off or him shifting gears to another tempo, etc.

At photos shoots, when asked by the photographer to wait while he changed film, Richie would wander off and someone would have to find him. Again, frustrating, but that was Richie. He certainly had moments when none of the above was a factor. But the tendency for his attention to drift was there enough to establish a pattern.

All The Years and Tears Flowing Down

We were in St. Louis a few days ago (I’m writing this as of June 27, 2011).  Looking out my hotel window at the Arch, a flood of memories came hurtling back at me. On July 18, 2009, we played a concert next to the Arch. We had just gotten back from a three-date run in Sweden. In an article I later wrote on Gabe Ford:

(*) The news was devastating. Richie Hayward’s health was in severe jeopardy. He would need time off for tests. The process could take a year or more, no one was sure. Originally he was slated to continue touring until the end of the year. But that was not to be. Richie and I were in the back of a van in Gothenburg, Sweden, en route to the sound check and show that evening when he let me know he would not be able to tour beyond the upcoming show in Billings, MT, August 7, (the last of three one-off’s scheduled before the bulk of dates taking place after August 18).

(*) I should also note that Gabe Ford is a cancer survivor. I didn’t realize it at the time I wrote the article.  Read the article here.

Richie was deathly ill. His liver was basically shot. His breathing problems were mounting. The photos I took at the gig reflect his condition. Richie looks drawn and skeletal. He barely made it through the set. We were all very tired, given the jet lag and humidity on a hot summer evening in St. Louis. Richie was in a state I had never seen him before. He needed every ounce of energy he could to play the last few songs. I was scared for him. A friend of mine saw him and later told me he knew he had cancer from the way he looked that night. We had three more shows with him before he left the band, hopefully to return if he regained his health. The last full show, as it turned out, was to take place in Billings, MT, on August 7, 2009.

Billings, Montana (The Last Stand)

I rented a car in Billings, MT, and took off for Little Big Horn early in the day before the show that night. The combined eeriness and peacefulness of the battlefield, in what had been a horrific event, somehow reflected the feelings I had about the show we were later going to play. I knew in my heart it would more than likely be the last time Richie played a complete show with us, and in of all places Montana, where so many momentous events had taken place in my life, as well as the sacred place I had been drawn to visit that day. The reverberations of history were all there, converging in subtle waves. It was disturbing yet comforting; the openness and stillness of the prairie contributing to my perceptions. The cycles of life move effortlessly whether we attach ourselves to them or not.

I was pretty sure Richie felt the same way. That night had to count as a last statement. He played that evening in magnificent fashion. He was brilliant. Listen to his solo in “Fat Man In The Bathtub.”

It rained on and off during the concert, which was held outdoors. Afterwards, as we were waiting to be taken back to the hotel, we were all standing under an awning, as it was still lightly raining, talking about how great the show felt. He didn’t ask, “How was I?” this time. Richie had a smile on his face as a large as the Big Sky above us. He knew he had played as well as he ever had in his life.

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How Carrie Fisher became Hollywood’s master ventriloquist in ‘Postcards From the Edge’

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“Maybe I shouldn’t have given the guy who pumped my stomach my phone number, but who cares?” There is no more quotable novel about Hollywood than Carrie Fisher ’s roman à clef, “Postcards From the Edge.” Fisher’s sentences bristle with caustic, self-effacing humor. Outside of her forays into that galaxy far, far away, that brand of sharp deadpan comedy is perhaps what the former Princess Leia would become best known for. And in her debut novel , the actress-turned-writer makes great use of her enviable way with words.

The Ultimate Hollywood Bookshelf

“Postcards From the Edge” ranks No. 15 on our list of the best Hollywood books of all time.

Whether sketching a scene with brisk efficiency or offering up aphorisms whose insights are all the more piercing for the wit that encases them (“I told him about the Oedipal thing, about my father leaving when I was very young so I knew how to pine for men, but not how to love them”), the “Star Wars” star’s 1987 bestseller remains a raucous, rollicking affair.

It’s true, though, that the novel’s merits may be somewhat eclipsed by the movie adaptation that followed . Directed by Mike Nichols, it starred Meryl Streep and Shirley MacLaine and earned Fisher a BAFTA nomination for best adapted screenplay. Nevertheless, this slice of L.A. life deserves to be celebrated for how it brilliantly works on the page.

Fisher’s protagonist is Suzanne Vale, a modestly successful actress whose journal missives from rehab anchor the first section of the novel. Suzanne’s time surrounded by fellow addicts fumbling their way into sobriety is characterized by a candid lucidity about drug abuse and recovery that is as fresh and revealing today as it was in the late 1980s. “It was like I was a car, and a maniac had gotten behind the wheel. I was driven, and I didn’t know who was driving,” Suzanne explains when describing the moments leading up to the overdose that landed her in the hospital. Decades’ worth of therapy no doubt had helped actress and author alike mine such personal epiphanies for endless cocktail hour-ready anecdotes.

Lest that suggest “Postcards From the Edge” relies on navel-gazing storytelling that borrowed freely from the star’s own very public struggles with addiction, Fisher proves early on to be a master ventriloquist. She deftly juxtaposes Suzanne’s self-deprecating journal entries with the gonzo stream of consciousness ramblings of Alex, a cocaine addict. Convinced he’s above it all and committed to staying only long enough to gather details as fodder for a TV film treatment on rehab (“I wish I could do speed, though. I always wrote better on speed”), the struggling writer serves as a foil to Suzanne. That’s crystal clear once he leaves the center and finds himself high, paranoid and spilling half an ounce of blow in the bathtub of a hotel room in the Valley.

As soon as Suzanne finishes her treatment, Fisher opts to switch voices once more. Meetings with a would-be suitor (“My route to intimacy is routine,” she quips on their first date) and her shrink (“Remember our last session when you said that maybe I shouldn’t date for a while?”) are driven by furiously funny dialogue alone. Those tour de force scenes are a reminder of Fisher’s canny ear for the specific cadence of Angelenos fully immersed in the twinned make-believe worlds of moviemaking and self-delusion.

By the time Suzanne gears up for a return to acting (in a laughable project shooting out in the desert), Fisher shifts to a third-person narrator who can more incisively dissect this young woman’s wayward attempts at getting her career and dating life back together: “Suzanne was in the business of seeming — of entertaining people with her ways of seeming real,” we’re told. “Portraying reality had become her way of experiencing it.”

Thankfully, Fisher’s novel has a structure that careens us back from the edge and toward a place where Suzanne learns how to experience life. We’re taken from the ever-doubting inner thoughts of an addict in rehab, through her slurry of words as she gets out, and into her increasingly coherent actions as observed from the outside. It’s a reminder that Fisher’s writerly gifts extended far beyond her ability to pen a killer sentence.

Yes, “Postcards From the Edge” is awash in delicious one-liners, the kind that make you angry with envy for how effortlessly they skewer all things L.A. But the beauty of this novel comes from the grace with which Fisher approaches her fictional alter ego. In her hands Suzanne’s slow ascent back into a world that has some semblance of normalcy (for a recovering Hollywood actress, at least) is punctured with a sense of humor that stings precisely because it’s so surgically self-directed. So nakedly self-revealing. And, as a result, so wounding and healing in equal measure.

Betancourt is a Los Angeles-based queer Colombian writer and film critic. His latest work, “The Male Gazed: What Hunks, Heartthrobs and Pop Culture Taught Me About (Desiring) Men,” was named one of the best books of 2023 by Time magazine and NPR.

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Hollywood’s bravest and most foolhardy memoir wasn’t written by a movie star

The story of epochal flop ‘Heaven’s Gate’ isn’t a disaster yarn. It’s a cautionary tale

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Anger in Malaysia over shoes bearing logo resembling Arabic word for God. Company head apologizes

Associated Press

Copyright 2024 The Associated Press. All rights reserved

People shop at a Vern's outlet at a shopping mall in Kuala Lumpur, Malaysia, Monday, April 8, 2024. Verns Holdings, a Malaysian shoe company has apologized and stopped selling some of its footwear after some Muslims said the logo resembled the Arabic writing for the word God. (AP Photo/Vincent Thian)

KUALA LUMPUR – A Malaysian shoe company has apologized and stopped selling some of its footwear after some Muslims said the logo resembled the Arabic writing for the word God.

Vern’s Holdings said the logo stamped on the soles of some high-heeled shoes depicted the silhouette of a stiletto heel with an ankle spiral wrap. It acknowledged, however, that shortcomings in the design may have led to the logo being misinterpreted. The company also said it acted immediately to stop sales of the shoes and issue refunds to customers who bought them.

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“We have absolutely no intention of designing a logo aimed at belittling or insulting any religion or belief,” Vern’s said in the statement posted on social media. “The management would like to humbly apologize and seek forgiveness. We hope for compassion so we can rectify this mistake.”

Police said Monday they confiscated more than 1,100 shoes from Vern’s stores. The Department of Islamic Development, an agency that handles Islamic affairs in Malaysia, also summoned the company's founder, Ng Chuan Hoo.

The local Star English-language newspaper quoted NG as saying he regretted the uneasiness caused and hurting the Muslim community. “I hope to learn from the incident and to be more careful and sensitive in the future,” he said.

The Islamic department said if evidence that the logo was deliberately created to mimic the word “God” in Arabic, legal action will be taken to prevent similar future incidents.

It also urged businesses to remain vigilant of sensitive issues that can threaten the country's racial unity.

The footwear controversy followed a furor last month over socks printed with the word “Allah” on the shelves in a large Malaysian convenience store chain. The owners of KK Mart and representatives from one of its suppliers were charged on March 26 with offending the religious feelings of Muslims, and some stores were hit with small petrol bombs. No injuries were reported.

Religion is a sensitive issue in Malaysia , where Muslims account for two-thirds of a population of 34 million, with large ethnic Chinese and Indian minorities. “Allah,” the Arabic word for God, is sacrosanct to Malaysian Muslims and many found it offensive to associate the word with feet.

The matter came to light after critical social media posts highlighted the logo's resemblance. Religious authorities and police have said they were investigating the matter after receiving complaints from the public.

Meanwhile, tensions have remained over the earlier case. KK Mart Group, the country’s second-large chain of convenience stores, has said the supplier sent items the company had not agreed to stock. The supply company founder has said the socks were imported from China as part of a large shipment and apologized for being careless in their inspection.

The leader of a Malay nationalist party's youth wing in Malaysia's government has pressed for a boycott of the chain and is being investigated for alleged sedition over a social media post showing him wielding a sword.

Critics say the party seeks to woo ethnic Malay support after heavy losses in the last general elections.

Copyright 2024 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed without permission.

CBSE Class 12 English Syllabus 2024-25 PDF Download Updated

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Class 12th English Syllabus 2025: The Central Board of Secondary Education (CBSE) has released its revised and updated syllabus for all students of Class 12, on its official website. The board has published Class 12 Syllabus 2025 for subjects of all streams under the ‘Curriculum’ tab. The syllabus holds immense value for students of the 2024-2025 academic session, who will be appearing for CBSE Class 12 Board Exams in 2025. Here, we have brought to you the CBSE Class 12th English Syllabus 2025 along with a PDF download link of the same. Students can also check the Marking scheme, exam pattern, and course structure in the CBSE Board Class 12th English Syllabus provided to you below. 

CBSE Class 12th English Syllabus 2025

Find the class 12th English syllabus 2024-2025 below. 

Section A  (Reading Skills)                         

1. Reading Comprehension through Unseen Passage (12+10 = 22 Marks) 

• One unseen passage to assess comprehension, interpretation, analysis and inference. Vocabulary assessment will also be assessed via inference. The passage may be factual, descriptive or literary. 
• One unseen case-based factual passage with verbal/visual inputs like statistical data, charts etc. to assess comprehension, interpretation, analysis, inference and evaluation. 

Note: The combined word limit for both the passages will be 700-750 words. Multiple Choice Questions / Objective Type Questions and Short Answer Type Questions (to be answered in 40-50 words) will be asked. 

Section B (Creative Writing Skills)

2. Creative Writing Skills

• Notice, up to 50 words. One out of the two given questions to be answered. (4 Marks: Format :1 / Content: 2 / Accuracy of Spelling and Grammar: 1)
• Formal/Informal Invitation and Reply, up to 50 words. One out of the two given questions to be answered. (4 Marks: Format: 1 / Content: 2 / Accuracy of Spelling and Grammar :1)
• Letters based on verbal/visual input, to be answered in approximately 120-150 words. Letter types include application for a job with bio data or resume. Letters to the editor (giving suggestions or opinion on issues of public interest). One out of the two given questions to be answered. (5 Marks: Format: 1 / Organisation of Ideas: 1/Content: 2 / Accuracy of Spelling and Grammar :1)
• Article/ Report Writing, descriptive and analytical in nature, based on verbal inputs, to be answered in 120-150 words. One out of the two given questions to be answered. (5 Marks: Format: 1 /Organisation of Ideas: 1/Content: 2 / Accuracy of Spelling and Grammar :1)

Section C (Literature Text Book and Supplementary Reading Text) 

3. Literature Text Book and Supplementary Reading Text

This section will have variety of assessment items including Multiple Choice Questions, Objective Type Questions, Short Answer Type Questions and Long Answer Type Questions to assess comprehension, interpretation, analysis, evaluation and extrapolation beyond the text. 

• One Poetry extract out of two, from the book Flamingo, to assess comprehension, interpretation, analysis, inference and appreciation. (6x1=6 Marks)
• One Prose extract out of two, from the book Vistas, to assess comprehension, interpretation, analysis, evaluation and appreciation. (4x1=4 Marks)
• One prose extract out of two from the book Flamingo, to assess comprehension, interpretation, analysis, inference and evaluation. (6x1=6Marks)
• Short answer type questions (from Prose and Poetry from the book Flamingo), to be answered in 40-50 words each. Questions should elicit inferential responses through critical thinking. Five questions out of the six given, are to be answered. (5x2=10 Marks)
• Short answer type questions, from Prose (Vistas), to be answered in 40- 50 words each. Questions should elicit inferential responses through critical thinking. Any two out of three questions to be done. (2x2=4 Marks)
• One Long answer type question, from Prose/Poetry (Flamingo), to be answered in 120- 150 words. Questions can be based on incident/theme/passage/extract/event as reference points to assess extrapolation beyond and across the text. The question will elicit analytical and evaluative response from the student. Any one out of two questions to be done. (1x5=5 Marks)
• One Long answer type question, based on the chapters from the book Vistas, to be answered in 120-150 words, to assess global comprehension and extrapolation beyond the text. Questions to provide analytical and evaluative responses using incidents, events, themes, as reference points. Any one out of two questions to be done. (1x5=5 Marks)

Books And Chapters  

• Flamingo: English Reader published by National Council of Education Research and Training, New Delhi 

(Prose)   

• The Last Lesson 
• Lost Spring 
• Deep Water  
• The Rattrap  
• Indigo  
• Poets and Pancakes  
• The Interview  
• Going Places 

(Poetry)  

• My Mother at Sixty-Six  
• Keeping Quiet  
• A Thing of Beauty  
• A Roadside Stand 
• Aunt Jennifer’s Tigers
• Vistas : Supplementary Reader published by National Council of Education Research and Training, New Delhi 
• The Third Level  
• The Tiger King  
• Journey to the End of the Earth  
• The Enemy  
• On the Face of It 
• Memories of Childhood  
• The Cutting of My Long Hair  
• We Too are Human Beings

Class 12 English Syllabus PDF Download

To download the CBSE Class 12 English Syllabus 2024-2025, click on the link below

CBSE Class 12 English Marking Scheme 2024-2025

Check the CBSE 12th English Marking Scheme 2025 in the table below. 

Also Check: 

CBSE Class 12 Syllabus 2024-2025 (All Subjects)

The Regime finale: Run Elena run

The chancellor and her brute are on the lam in the hbo miniseries' sendoff.

The anthem of The Regime was, from its very first episode , Chicago’s “If You Leave Me Now.” If you’ll recall, that was the song chancellor Elena Vernham (Kate Winslet) serenaded her husband with at a lavish function back when her government seemed to be doing swimmingly. Her people adored her (or so she thought). Her advisors supported her every move (or so they led her to believe). And her standing in the international community seemed to be finally improving (or so she insisted). By the time we catch up with Elena in this finale episode, it’s obvious that this last year in her fictional central European country has been rough.

She’s on the lam, in fact.

Herbert (Matthias Schoenaerts) has successfully snuck the besieged chancellor away from the palace and out into…a field. Which is not the safest place to be. But it is the best place for these two to come to grips with their circumstances. Elena, it seems, is still living in delusion land. She’s convinced that if only her people could see her they would, you know, rise up against these pesky rebels and keep her government aloft. Alas, she’s left railing against her current situation while wearing a stylish red dress, looking like the saddest little red riding hood (with a wolf as her bodyguard) there ever was.

Her delusion and denial are clearly putting them in peril and so, as they move out toward any kind of safe haven (they end up at one of Nicky’s poetry centers), we see Winslet and Schoenaerts do what they’ve been doing best: imbue their characters and their vexing dynamic to life in ways that always rise above the writing of the show. Indeed, The Regime has always excelled when it’s focused on Elena and Herbert’s mercurial relationship. And stripped away from everything and everyone else, their interactions here are what I wish more of The Regime could’ve been: a tense tête a tête between a vain narcissistic capitalist and a loud, brutish socialist. For that’s where the most interesting kernel of drama lays in this beautifully mounted HBO show.

Alas, even in this last episode of this Will Tracy-created limited series, we don’t get to see that tension play out. Sure, we see Herbert pressing Elena as to whether she really was going to hand over power to him the night before (Winslet’s ability to play all of Elena’s levels of performance remains a beauty) and witnessing the two assessing whether they can truly trust one another. But then we’re off, hoping to find a safe haven in a nearby town.

That’s what eventually leads them to stopping random drivers on the road (all avoiding the newly established curfew courtesy of the budding Westgate government). Only one of them, a drunk fool, agrees to help, squirreling them into his apartment. How that gets them any closer to safety is unclear. Elena still imagines she could abscond to China. Or maybe meet Nicky in Europe. Alas, she may not get to do any of that since she’s betrayed by the fool who’d agreed to help them, who’s ready to sell her to the rebels, trapping she and Herbert in his bedroom as he calls a family member to come collect the former chancellor.

Elena goes into a panic while Herbert begins tearing everything around him apart. They’re now cornered prey. She even begins stabbing herself with a wooden stake (bit vampiric, that) only to be yet again saved by her fearless soldier. But who will they have to face now?

Laskin (Danny Webb) as it turns out! He’s part of the new National Freedom Front and, since abdicating his position in the Vernham government, he’s managed to weasel his way back into power: Parliament has been dissolved and, with Elena’s capture, the hope is that a somewhat peaceful transition of power can be arranged. To do this, Laskin separates Elena from Herbert and tries to pit them against one another, telling each that the other betrayed them: “She used you to plump her ego, and now the country is dying,” he pleads with Herbert. “She’s killing us!”

Neither are as easy to break as he’d imagined. Elena soon realizes she still has the upper hand. They need her for a legal transition and, from what she gathers, Laskin doesn’t yet have the support he needs. He tries ordering her to sign what they need but she replies with the usual Elena flair: “You couldn’t order a fucking omelette!” (Side note: where was this level of writing elsewhere in the season? That’s a Selina Meyer-level line!) Thankfully Laskin knows Elena’s weakness and so a mere glance at a clear sharpie’d tank that reads “Danger Black Mould” is all it takes for her to cave. She’ll sign and do whatever!

Alas, that wouldn’t be the end of it. As she and Herbert are about to be transferred out of the building, their guards (and Laskin!) are shot in the head. Our two hostages pass hands and are taken to a different location: There, they are greeted by another man whom Elena had wronged before and who, perhaps, has it in him to offer her a way out.

As Herbert is shuttled away, Elena comes face to face with Emil Bartos (Stanley Townsend) whom we’d last seen being humiliated on live television by Elena. It is now he who has the upper hand. He’s interested in quelling the civil war that’s raging right outside. War (and partisanship) is bad for business, he says, but really, he couldn’t stand idly by. He basically offers Elena a way back in, with the help of the Americans (which would require a rebuking of China) and with just one caveat: a sacrificial lamb in the shape of one Herbert Zubak. Will she take the deal? Could she really betray Herbert, who’d stood by her through it all?

A cleansing shower and a look at herself in the mirror (without her wig, we finally get to see the face beneath the face) allow her to make up her mind. “The Americans are here. They want to take our country from us and they want me to kneel,” she informs Herbert. In a testament to Winslet’s performance, it’s hard to read whether all she’s feeding Herbert is a way to have him acquiesce or a way to steel herself for what she’s about to do.

Which is, of course, what you most expect her to do: sell him out and establish herself back in power, brushing aside all that happened in the year prior as some sort of “wobble” she’s now recovered from. Herbert, of course, was killed in his sleep, and the Vernham government, now with clearer ties to the U.S., was able to recenter itself. We see all this as Elena readies herself for her ninth Victory Day celebration; we’re back to where it all began last year.

As Elena delivers a rousing speech to her people (from a Pope-mobile-esque pulpit in her balcony), she’s clearly just going through the motions. She won but also lost. She’s hoping to usher in a new era, a new Europe, but all of it sounds very much like the old era, like the old Europe: one driven by capitalist foreign investors and American shadow governments, one where corruption rots everything from the top and leaves little for those down below. Elena has even replaced one dead father figure for another: Herbert has been embalmed and now rests where her dad used to.

“I am no one without all of you,” Elena proclaims. “And so I bless you all, and I bless our love. Always.”

You can hear, in her voice, a steeliness that’s nevertheless quite tenuous, quite fragile. It makes sense that we return, then, to “If You Leave Me Now”: The Regime was always a love story, not one between Elena and her husband (oh yeah, Nicky’s back!) and perhaps not even between Elena and Herbert (though there was a tender, twisted kind of love there), but between Elena and her sense of power. This was a vain romance; she never did hear anymore than she wanted to and never did reach farther than her own idea of victory in her head. She loved being in power, loved being in control (or at least loved thinking she had any). A love like that is hard to find; it’s harder still to leave behind.

Does that add up to a particularly trenchant satirical critique of modern autocracy? I don’t really think so, not at least in the way The Regime presented it. But hey, at least we got yet another great Winslet performance out of it.

Stray observations

• Seeing Winslet in full on bitchy diva mode has been a gift; just hearing Elena talk about poetry (“I told Nicky it’s a pointless fucking genre. Eighty words of drunken drivel about a pussywillow”) is proof that she should make more comedies—ideally some with more bite than The Regime .
• Okay, that red dress in particular was stunning, especially when juxtaposed with the drabness of the landscape. One should always trust Consolate Boyle ( The Queen, Florence Foster Jenkins ), especially when she’s working alongside Stephen Frears, as she did in this show.
• Anyone else wondering whatever happened to Oskar and Agnes?