About Ariel Gore and the Literary Kitchen Workshops

Ariel Gore is s LAMBDA Award-winning editor and the author of nine books of fiction and nonfiction. Her most recent title, The End of Eve, won a New Mexico-Arizona Book Award, a Rainbow Award, and was named one of the 10 best memoirs of the year by Library Journal. Her stories and essays have appeared in Psychology TodaySalonMs., UtneThe SunThe San Francisco Chronicle, and elsewhere. Her new novel, We Were Witches, is forthcoming from The Feminist Press (September, 2017).

 

Ariel Gore is a fabulous workshop facilitator; I’ve been taking classes from her since 2001. In each of the workshops, she brings together a diverse group of writers with varying degrees of competency; and, whether the writer is seasoned or a beginner, she understands exactly where each person is coming from and she meets them there. Not only did I find my unique voice, I learned how to be a thoughtful listener and how to provide insightful critique. I would recommend her workshops to anyone interested in memoir and the art of a good story.

—Lani Jo Leigh

 

Ariel’s workshops jump-started my psyche. I’m back into looking at the world as a writer instead of as a would-be writer. I have her to thank for that. Workshops are almost at your own pace. Always encouraging. She has a knack for assembling a great group of writers together every time.

—Margaret Elysia Garcia, author of Mary of the Chance Encounters

 

Ariel Gore’s writing workshop pushed me past the borders of my creativity and into an exciting unknown place of writing within myself. If you’ve ever put to pen to paper and wondered what you were really capable of Ariel’s workshop will take you there.

—Gabby Rivera, author of Juliet Takes a Breath

 

I thoroughly enjoy Ariel’s workshops. Writers from a variety of backgrounds gather together, bringing in work with all kinds of themes, and as each piece is workshopped, Ariel’s ear for the crucial aspects of great storytelling kicks right in. Her feedback is thoughtful, insightful, precise, and multilayered.

—Bonnie Ditlevsen

 

When I started writing with Ariel, I had zero idea how to write for audience. In work shopping with her, I have found my voice and with practice have found different ways to formulate story. I have learned how to incorporate dialogue and am so much more confident with my work. I recommend this workshop to all aspiring, practicing, and practiced writers.

—Krystee Sidwell

How to Write a Memoir

 

 

 

 

 

by Lisbeth Coiman

Let life hit you in the face

And scar you.

Let it rip through your heart

And squeeze it.

Let it grab your brain

And melt it.

Let it shatter your expectations.

 

Turn around

Let the way back disappear,

But follow the new path

Opened in front of you.

Let it take you to a wrong turn,

And miss the exit.

 

Go uphill

Left and right.

Let the road take you

Where you didn’t want to go,

But get there anyway.

Upside down

Inside out

Backwards

And vice versa.

 

Then,

Sit down.

Let your soul

Heal on paper.

The End of Eve wins New Mexico – Arizona Book Award

Ariel Gore’s darkly comic memoir, The End of Eve, just won a 2014 New Mexico – Arizona book award. You can get a signed copy right here. $16.95. FREE SHIPPING.

“It turns out that both life and art are balancing acts. In one as in the other, Gore seems to be saying that even as we acknowledge past traumas, we cannot let those wounds dictate our actions in the present. The End of Eve is a product of bravery, love, and hard-won wisdom. In sharing it, Ariel Gore invites her reader to bask in the light she has found.” —Los Angeles Review of Books





New issue of Hip Mama!

The cute FedEx guy just brought me so many boxes of this beautiful new issue of Hip Mama. Subscribe and I’ll send you one right away.

This issue features an inspiring interview with the super-pregnant Michelle Tea, personal essays on parenting young adults, getting knocked up DIY style, talking to our kids about racism, and so much more. There are yummy potato recipes, etiquette from Punk Rock Miss Manners, and a genderqueer paper doll no family should be without.

SUBSCRIBE & you’ll get this issue and 3 more.

 

zineinbox

Milcah Halili Orbacedo Interviews Wendy C. Ortiz

 

Wendy C. Ortiz’s searing new memoir of growing up in Southern California in the ’80s and ’90s, Excavation, unearths the complicated legacy her five-year relationship with her charming and flawed teacher 15 years her senior. Her teacher — now a registered sex offender — encouraged her passion for writing while making her promise not to leave any written account of their dangerous sexual relationship. Excavation is just out from Future Tense.

You could make multiple twitter accounts from the different voices you use in your writing. In the business world, lacking a singular voice makes one less marketable. What drives you to write in your multiple voices when writing in a more singular voice may promote more traditional success?

If I stuck to one voice when in reality I contain a multiplicity of voices I wouldn’t feel like I’ve maintained the integrity of my work (and possibly my identities). Writing memoir specifically, it feels essential to me to unleash as many of the voices as possible (the ones I have access to, anyway). I also prefer a world where our multiple identities are given free range—which flies in the face of a singular voice and making one’s self “more” or “less” marketable. (The 28 year old in me is reading this going, Just how “marketable” have you ever been, and has being marketable ever really motivated you? for example.)

Excavation: a Memoir was just released this summer by Future Tense Books. Your next book, Hollywood Notebook, will be published by Writ Large Press in fall/winter. Will you offer readers of Hollywood Notebook a voice similar to Excavation? What should we expect next?

Hollywood Notebook takes place in Los Angeles after I’d spent eight years in Olympia, Washington in two separate serial monogamist relationships. I landed in my studio apartment in Hollywood, single, living alone for the first time in years. The voice spans the ages of twenty-eight to thirty-three and is very much influenced by the books, people, music, and experiences of that time. I call it a prose poem-ish memoir, as it contains eighty-some short chapters in the form of paragraphs, lists, and stream-of-consciousness passages.

After Hollywood Notebook I’m interested in returning to other works-in-progress: a book of music-themed essays, poetry centered on my mother and grandmother and our entwined relationships, a memoir based on my Modern Love column, and a memoir about the period in Olympia between the ages of 20-28 which I think of as a long gestation, and some other secret things.

If you could blend two of your voices together from any of your works (On the Trail of Mary Jane, Excavation, your essays at The Nervous Breakdown or Specter, etc.) which two voices would complement each other the most? Do you have a masterplan to eventually merge all your voices? Or you do enjoy the compartmentalization?

I’m fond of the voices that find themselves in my fiction (like “Black Car Land” in Specter, and some other fiction I’m working on)—there’s a starkness to the voices I feel both comfortable and very uncomfortable with. In some ways I blend the voices together when I put two stories next to one another, as I’m doing now with some fiction. The themes start to emerge from placing the work together and paying attention to whether the voices are complementary or not. The only master plan I have to is to see where the voices go, any of them, all of them.

No matter the voice, your writing is always very corporeal and visceral. You are very generous when it comes to material and emotional details, and it balances out very well. What are the physical drives that take you to the corporeal and visceral in your writing? What about the body and the emotions it manifests inspires you to write in such a way?

As someone who has struggled, then learned, then forgot, then remembered to stay in her body most of her life, focusing in on the corporeal and visceral feels necessary. It’s also what I enjoy about some of my favorite writers, how they bring me back to my body with their texts.

What would you say is the over-arching theme of your writing, the heart of your work?

I hesitate to say there’s one over-arching theme. If we think of a heart, the human heart with its four chambers, I might say abandonment (from others, of others, and of self); embodiment (of identities that help one to survive, however ‘survive’ is identified); exploration and troubling of the idea that there are only two sides to every story (which I don’t believe—I think there are many); and transformation. (It’s important to note that this is what I think today; if you asked me this yesterday or ask me tomorrow, the answer might differ. It’s not always static.)

Online Writing Workshops with Ariel Gore

REGISTRATION IS NOW OPEN FOR FALL & WINTER CLASSES

I was at a loss after finishing my MFA program… But after eight years of infrequent publishing and no time to write, I found an alternative that works for me. Three years ago, I hooked up with Ariel Gore’s online Literary Kitchen workshops and finally found a group that was the right fit for me: writers not full of privilege (and themselves) who offer honest criticism and support at the same time, and whose work I truly enjoy reading. And that infrequent publishing? It’s not so infrequent anymore.

—Margaret Garcia, Poets & Writers

 

Lit Star Training

The Original Literary Kitchen Online Writing Workshop

Taught by Ariel Gore

September 6 – Early November This class is full. Email arielgoremedia at gmail dot com to get on the waiting list.

 

A new session of Lit Star Training — the 8-week+ writing course taught by Ariel Gore — starts September 6. Writers in Lit Star Training spend at least a few hours each week on their writing and online critiques. You can log in any time of the day or night. Writers in the group are new and seasoned, wanting to work on memoir or fiction. The class works as well for those writing to weekly assignments (with no big projects in mind) and for people who are starting or working on existing book projects.

The class is $295 — a $90 deposit will hold your spot. You can pay the deposit right here:

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SPECIAL 4-WEEK SESSION OF LIT STAR TRAINING – THIS CLASS IS FULL

Online Creative Writing Class Taught by Ariel Gore
November 8 – December 8
This fall, I’m offering a special 4-week session of Lit Star Training. Writers in Lit Star Training spend at least a few hours each week on their writing and online critiques. You can log in any time of the day or night. Writers in the group are new and seasoned, wanting to work on memoir or fiction. The class works as well for those writing to weekly assignments (with no big projects in mind) and for people who are starting or working on existing book projects.
Class size is limited, so please sign up early.
Cost of the workshop is $155

A $55 deposit saves your spot.

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THE WINTER BREAK INTENSIVE
Online Creative Writing Course Taught by Ariel Gore
Power Through the Holidays with 12 Assignments in 14 Days
December 19 – January 1
Always the most popular class in the kitchen. Instead of having a nervous breakdown, use the holiday weeks to produce up to 100 pages of new writing.

You’ll get 12 assignments in 14 days and lots of great feedback (an-assignment-a-day & take 2 days of your choosing off.)

Class size is limited, so please sign up early. – CLASS FULL
$155

 

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Ariel Gore is a fabulous workshop facilitator; I’ve been taking classes from her since 2001. In each of the workshops, she brings together a diverse group of writers with varying degrees of competency; and, whether the writer is seasoned or a beginner, she understands exactly where each person is coming from and she meets them there. Not only did I find my unique voice, I learned how to be a thoughtful listener and how to provide insightful critique. I would recommend her workshops to anyone interested in memoir and the art of a good story.

—Lani Jo Leigh

 

Ariel’s workshops jump-started my psyche. I’m back into looking at the world as a writer instead of as a would-be writer. I have her to thank for that. Workshops are almost at your own pace. Always encouraging. She has a knack for assembling a great group of writers together every time.

—Margaret Elysia Garcia

 

Ariel Gore’s writing workshop pushed me past the borders of my creativity and into an exciting unknown place of writing within myself. If you’ve ever put to pen to paper and wondered what you were really capable of Ariel’s workshop will take you there.

—Gabrielle Rivera

 

I thoroughly enjoy Ariel’s workshops. Writers from a variety of backgrounds gather together, bringing in work with all kinds of themes, and as each piece is workshopped, Ariel’s ear for the crucial aspects of great storytelling kicks right in. Her feedback is thoughtful, insightful, precise, and multilayered.

—Bonnie Ditlevsen

 

When I started writing with Ariel, I had zero idea how to write for audience. In work shopping with her, I have found my voice and with practice have found different ways to formulate story. I have learned how to incorporate dialogue and am so much more confident with my work. I recommend this workshop to all aspiring, practicing, and practiced writers.

—Krystee Sidwell

 

Read The Greatest Most Traveling Circus!

What is The Greatest Most Traveling Circus, you ask?

Why, it’s a mythical place, a philosophy of life, a new book you’ll love.

It’s a collection of stories about vampires and superheroes, gypsy curses, giant killer robots, psychics, love potions, bar fights over stolen angel wings, and imaginary monsters.

It’s also a novel about overcoming depression, handling loss, and trying to find meaning in a world where the supernatural isn’t the hardest part of life to accept.

It’s the most fabulous book behind the most understated cover. And it will make you happy to be alive.

The print edition of The Greatest Most Traveling Circus is all yours from Sweet Candy Press: http://www.sweetcandypress.com. And there’s a Kindle edition, too.

Ariel: I fell in love with The Greatest Most Traveling Circus almost immediately when I cracked the cover. I could just feel the joy emanating from the pages. Is writing for you as joyous a process as it seems from the reading point of few—or more an arduous art?

Jonas: It was definitely a joy. I loved telling these stories. I would get immersed in them for long stretches of time. I’d write at work, at home, during my commute to work, in the bathroom; practically everywhere. When I wasn’t writing, I was still thinking about the characters and story lines. It was really exhilarating. On the train home from work, I’d write something that would have me literally laughing out loud, and I’d get a little worried that people around me thought that I was a crazy person. Then some parts actually had me in tears right after I wrote them. I can think of a few parts in particular that hit me pretty hard.

I mean, it was draining at the same time.  There’s quite a lot of really personal stuff embedded in there. But writing it never felt like a chore.

Ariel: Can we talk about genre? Your book had been called an anthology but also a novel. What more can you tell me about the genre? I usually think of an anthology as multi-author, and all these stories are written by you. And I think of a novel as single-author and single-protagonist…

Jonas: I was really torn on whether to call it an anthology or a novel. Technically, it’s an anthology. But at one point during the writing, I started thinking of each story more as a chapter. There are recurring themes, a lot of characters reappear or are mentioned in several stories, and often details in one story resolve or unfold certain situations from previous stories. I wanted it to feel like an anthology at first, then unfold slowly in a way that feels like one story with a large cast of characters. I think, for me at least, the character Ramona is the protagonist, and the whole book is building up to her story.

Ariel: A theme of the book—right from the start—seems to be a certain randomness of existence. I was recommending it to someone and I called it “kind of a beach read that is also meditation on existential philosophy.” Do you think that’s a fair characterization? Or am I just maybe feeling very random and reading into it?

Jonas: That’s a perfect way to put it! I was reading an awful lot of philosophy while I was writing the book.  Right from the beginning, what I tired to do was tackle a lot of very complicated philosophical ideas within the context of very simple stories. The layers are there, but you don’t have to dig for them to enjoy the book. I didn’t want it to be stuffy. Then, yes, many of the characters each seem to be in the middle of an existential crisis, you know, looking for a deeper personal meaning to life—which they realize, for better or worse, through the friendships they build.

Ariel: How long did it take to write The Greatest Most Traveling Circus? What do you like about the final product?

Jonas: I wrote the first stories around 2006 or so. I’d write large batches of them, compile them and give them to my wife as small gifts. I started writing the Amazing Man stories just after the Virginia Tech massacre in 2007. The inspiration was pretty clear at the time, you know, contrasting the renewed excitement over superheroes in movies with a tragic mass murder; you know, the fascination with superheroes in a country that keeps showing us very real, dangerous villains.  It’s mind-boggling that, since then, superhero movies have become even more popular, and there have been many more mass murders like the Virginia Tech shooting. I mean, there was that Colorado shooting in 2012, where the shooter actually referred to himself as The Joker, and went on his rampage at the premier of a superhero flick.

But yeah, around 2007 is when I started to look at the work as a cohesive book and not just a set of stories that occasionally intersected.  I finished it around the spring of 2011, but then there were edits here and there right up until it was published.

I’m really happy with how it all comes together, but I still think it works if you just flip through it and read the individual stories at random.