2019 CNFC Conference: June 14 to 16 in Vancouver

The 2019 CNFC conference is taking place June 14 to 16 in Vancouver at UBC’s Point Grey Campus.

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Other useful links:

How to book your stay at UBC during the conference

CNFC conference accessibility info

Conference schedule

Check out the program details below.

MASTER CLASSES:

The Living Story

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Ever given a rhino an enema? Master storyteller Dr. Jerry Haigh has, and he’s
lived to tell the tale to audiences across the world. Why do some stories grip
us, while others don’t? In this master class with storyteller Danica Lorer, you’ll
learn how to bring out the magic of your stories during presentations. You’ll
come away understanding how to manage timing and themes and why you
need to pay attention to the ages and literacy level of your audiences. Whether giving school presentations or launching a book, storytelling is an art that will help every writer to communicate with greater depth and effectiveness.

Dr. Jerry Haigh has authored four nonfiction books and told stories to
audiences of all ages on five continents. His experience comes from 50 years
as a wildlife veterinarian in Africa, Europe, Asia and throughout North America.

Danica Lorer is a professional storyteller, poet, freelance writer, workshop
facilitator, face and body painter, and she is the host of TV Saskatoon’s literary arts program Lit Happens.

The Art of the Interview

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Whether you are a journalist, podcaster, creative writer, or blogger, great
interviews make great stories. So how do you get the interview? And once
you’ve got it, how do you get the most from it? In this master class Denise
Ryan will show you how to establish intimacy, overcome hostility or
intimidating subjects, work in traumatic and ethically challenging situations,
get past scripted answers, build an arsenal of techniques, and craft story-
based lines of inquiry. The class will also engage in some dynamic question
and answer sessions.

Denise Ryan is a journalist and creative nonfiction author whose work has
received many distinctions, including awards from Amnesty International, the
CBC literary prizes and the Webster and Sovereign Awards. Known for her
sensitive, in-depth interviews, narrative long-form features and love of
storytelling, she brings a wealth of experience and technique developed
through two decades of reporting, feature writing and teaching.

 Compelling Science Writing

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Are you passionate about science and the environment? Do you want to
include these issues in your writing but are not sure how to do that? In this
master class, Alanna Mitchell, journalist, playwright, and author of Sea Sick: The Global Ocean in Crisis, will teach you how to take a complex scientific issue and turn it into compelling and accessible writing.

Alanna Mitchell’s Sea Sick is an international best seller and won the U. S.
Grantham Prize for excellence in environmental journalism. Alanna has
written for the The New York Times, National Geographic, CBC Radio’s
Quirks & Quarks and The Guardian. She has performed her one-woman
play based on her book around the world. As she says, “This book has
changed the way I see our planet.”

Get Real: The Art of Writing with Humour

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Do you want to add humour to your prose but are afraid to try? Writing with humour is not something we’re born with, but with the right techniques and a basic understanding of joke structure and the literary elements that create literary humour, anyone can find the places for humour. In this master class, you’ll learn how to infuse your writing with a sharpness, a lightness, and an energy that can be transformative.

Author and poet Dina Del Bucchia, co-hosts the witty podcast Can’t Lit about
Canadian literature and culture, and has organized and performed in comedy
and variety shows in Vancouver. She teaches Introduction to Comedic Forms
at the University of British Columbia.

PROFESSIONAL WRITING CONSULTATIONS

Looking for a professional evaluation of your writing? This is your chance! Send us your nonfiction writing (maximum 3000 words), and we will pair you with an experienced editor/writing teacher, who will read your pages in advance and give you 15 minutes of feedback on your writing at our conference. The cost is $50. Send us your work to info@creativenonfictioncollective.ca by May 7 (new deadline). For more info and to register, click here.

KEYNOTE ADDRESS: Helen Humphreys

Hear one of Canada’s most celebrated and beloved fiction writers talk about why she is moving her writing away from fiction towards hybrid and nonfiction forms of storytelling.

PANELS & WORKSHOPS:

Genre-bending: The Many Ways to Tell True Stories

We are delighted to present Helen Humphreys, Chelene Knight, Betsy Warland, and Renee Saklikar in conversation, as these four master writers discuss ways to blend genres and cross literary boundaries.

Writing My Story

Join Darrel McLeod, Cree from Territory Eight in Alberta and a former chief land claims negotiator for the federal government, as he tells the stories behind his recent Governor-General award-winning memoir, Mamaskatch.

Writing to Heal and Recover

Kara Stanley, author of Fallen: A Trauma, A Marriage and the Transformative Power of Music, and her musician husband Simon Paradis present a joint reading/musical performance, followed with discussion as they explore the connection between trauma, the power of writing and its ability to heal.

In My Head and Onto the Page: Writing About and Through Mental Illness

Join Judy Rebick, one of Canada’s best-known women’s rights advocates and author of Heroes in My Head, and Alicia Elliott, Tuscarora writer, recipient of the RBC Taylor Emerging Writer Prize for 2018, and author of A Mind Spread Out on the Ground, as they share their personal accounts of writing about mental illness.

Writing Our Journey of Reconciliation

Monique Gray Smith, of Cree, Lakota and Scottish ancestry, and author of Speaking Our Truth: A Journey of Reconciliation, reveals how education, awareness and understanding can lead to repairing and healing the fractured relationships caused by our past history. As one young person she interviewed said, “awareness creates healing.”

Writing Intimate Crime and Violence

Renee Saklikar, author of children of air india, un/authorized exhibits and interjections, and Carys Cragg, author of Dead Reckoning, How I Came to Meet the Man Who Murdered My Father, reveal what influenced their decisions to write about the violence and crime that directly impacted them and their families and the long-term effects they have had.

No Words: The Rebellious Act of Writing the Stories Not Told

Lesley Buxton, author of One Strong Girl and winner of the 2018 Pottersfield Prize for Creative Nonfiction, explores how in memoir there are two protagonists — the past and the present selves — and how we can use the distance between them to reveal and write our most challenging stories.

MEMBERS’ CAFÉ:

Welcome to all members, new and returning. Come meet other conference registrants and listen to readings by student creative nonfiction writers.

IN CONVERSATION

Join celebrated writers Elizabeth Hay, author of All Things Consoled, and David Chariandy, author of I’ve Been Meaning to Tell You, A Letter to my Daughter, as they come together and talk candidly about the issues they confronted when writing intimately about family.

PERFORMANCE: Sea Sick: The Global Ocean in Crisis

Presented in partnership with the Chan Centre for the Performing Arts

Sea Sick is Alanna Mitchell’s critically-acclaimed and Dora-nominated theatre production about the state of the global ocean and the world. Come and experience this powerful story in which Mitchell uses science and her own delicate wit to tell us about her journey to the bottom of the ocean, the demons she discovered there, and her hope for the future. The performance will be followed by a talk-back session with Mitchell.

“So, I’m a science journalist and one of the most exciting things I’ve ever done was research a book on how we’re altering the chemistry of the global ocean. Sounds a bit dull, right? But it was a tale of grand adventure and marvellous discovery with a good dollop of humour, peopled with some of the most fascinating scientists in the world.” – Alanna Mitchell

For those registered for the conference, your ticket to the play is included. Members of the public wishing to purchase a ticket may do so for $36 ($20 with student ID) from the Chan Centre for the Performing Arts.

PERFORMANCE: The Shoe Project

The Shoe Project is a writing and performance workshop where immigrant women tell the stories of their arrival in Canada – through a pair of shoes. They are coached by veteran Canadian writers and theatre professionals. Shoes accompany us on all our journeys. They say who we are, where we came from, and where we are going. Writing their shoe memoirs gives members a voice and helps them be heard in the Canadian mainstream.

Now in its sixth year, The Shoe Project was created by novelist Katherine Govier and incubated at the Bata Shoe Museum in Toronto.

“I have never imagined I could be standing in front of an audience sharing a personal story in English. The Shoe Project has been the most empowering experience in my life.” – Natalia, participant from Uruguay

Plus: Banquet, literary cabaret, announcement of the 2019 CNFC/Humber Literary Review writing contest, wrap-up party, and the CNFC annual general meeting.

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Thanks to our sponsors:  

 

Announcing the 2019 CNFC/Humber Literary Review contest long list!

Humber Literary Review and the Creative Nonfiction Collective Society are pleased to announce the long list for our 2019 creative nonfiction contest:

“How to Become a Woman Carpenter,” by Marcia Braundy

“Foreign Object,” by Deborah Elderhorst

“All the Cake I Never Ate,” by Sierra Skye Gemma

“Metamorphosis of My Mother,” by Carole Harmon

“Algebra Lessons,” by sonja larsen

“High Tension Line,” by Lina Lau

“Leaving Saskatchewan,” by Melanie Mah

“Fools Rush In,” by Julie Paul

“Surfing, Not Drowning,” by Shannon Rayne

“The Burn Unit,” by Alyson Soko

Congratulations to everyone who made the long list and a big thank you to all who participated!

Thank you also to competition readers: Nancy O’Rourke, Eufemia Fantetti, Christopher Moore, and Kirsten Fogg.

Watch for the short list announcement in May.

The winner of the contest, as selected by this year’s judge, Helen Humphreys, will be announced at the 15th Annual CNFC Conference, held in Vancouver from June 14 to 16, 2019.


‘Give yourself the opportunity to find out how well you write’

Photo of Nancy O'Rourke

Nancy O’Rourke was the winner of the 2018 CNFC creative nonfiction prize and will be one of the readers selecting the 2019 shortlist.

Below she offers insight into the power of the CNF genre and words of encouragement for those hoping to submit this year.

“The story need not be life shattering, or a grand tale, but it does need to remind the reader of something understood at a gut level.”

CAN YOU TELL US ABOUT YOUR WINNING PIECE AND WHAT YOU THINK MADE IT STAND OUT?

My piece focused on an ordinary event – a visit to a museum in a foreign country – and drew attention, primarily, to a single object as a means to highlight an atrocity of considerable magnitude. The story, “Descent into Darkness,” involved a visit to the genocide memorial, located in Kigali, Rwanda, which I visited with a group of young Rwandans in 2010. What stood out for me, with respect to both the genocide and the memorial, was the use of the machete as an implement of slaughter: more than 800,000 people brutally massacred within 100 days. But even more so, and underlying the piece, was the horror re-experienced by those accompanying me, young people who had survived the genocide as children.

Betsy Warland, the judge for the 2018 competition, stated that what stood out for her about the story was that it carried her on a journey to someplace new and little known. She said that the story accomplished this by taking a microscopic view of something, the machete, to reveal the macro-level impact it had on society.

WHAT MAKES A CREATIVE NONFICTION PIECE STAND OUT FROM THE CROWD, AND WHAT WILL YOU BE LOOKING FOR WHEN YOU READ THIS YEAR’S SUBMISSIONS?

What moves me with respect to creative nonfiction is how a simple truth, sometimes an ordinary or amusing event, can be told in such a way as to evoke a deep inner knowing, a shuddering of insight into the human psyche. The story need not be life shattering, or a grand tale, but it does need to remind the reader of something understood at a gut level.

The reader does not need to have direct experience of the narrative but the way the story is told should allow the reader to relate in a fundamental way. What I will be looking for is a strong voice, a story that pulls me in, begs to be read. A tale that beckons an emotional response and is relatable. I also admire narratives that utilize simple imagery, sensory details and metaphor to show that which may not be commonly recognized but when illustrated as such is well understood.

ARE THERE DIFFERENT CONSIDERATIONS WHEN SUBMITTING TO A CNF CONTEST VERSUS THOSE CENTRED AROUND OTHER GENRES?

Not that I’m aware of. As a new writer, creative nonfiction is the only genre I’ve undertaken to date. I would imagine the only difference is the “nonfiction” aspect. Writers must stick to the facts, tell their truth, but then not unlike fiction and poetry, the creative aspect is what will make the piece remarkable. The only thing I would encourage contestants to consider is how their story will stand out. Many stories can be told about the same topic, the same truth, but how the story unfolds, the surprises it brings, the twists and turns is what will make it extraordinary. Don’t simply write about “what happened.” As with poetry and fiction, make use of creative techniques.

IN ADDITION TO THE CNFC WIN, YOUR STORY “ARRIVING IN TOMBE” WAS A FINALIST FOR THE WOW WOMEN IN WRITING CONTEST. HOW HAVE THESE EXPERIENCES CONTRIBUTED TO YOUR LITERARY CAREER?

The recognition has given me a measure of confidence. Writing is such an isolating experience. Like most writers, I am driven to write. The story pulls me along, it insists on being told. But for the most part, there is very little feedback or acknowledgement with respect to being on track, or of having something of interest to offer. I often feel like I write in a vacuum, secluding myself for hours and sometimes days on end. Receiving recognition is a reminder that the decision to write was not entirely foolhardy.

As for how this acknowledgement has contributed to my career, time will tell. For me, these are still early days. What it has given me is additional motivation to continue writing. There is no turning back now.

WHAT’S YOUR FAVOURITE ONLINE WRITING CRAFT WEBSITE/RESOURCE?

There are so many, but I will mention the two I refer to most often. Medium is a valuable online writing website, as it offers everything from good literature to constructive writing instruction. Additionally, Medium is a website that allows authors to publish their own work – both previously published and unpublished, allowing for a wider audience. After my winning story with CNFC was published in carte blanche, I had it published on the Medium website.

The other website I often visit is Narrative. I love Narrative because it has so much to offer, in terms of good literature: fiction, poetry, nonfiction by new and upcoming authors as well as those long established. Aside from current issues, their archives are impressive, as are author interviews and stories of the week. Without fail the work is outstanding and provides excellent reading for a writer keen to learn.

WHAT PIECE OF ADVICE CAN YOU OFFER NEW AND EMERGING WRITERS WANTING TO ENTER THIS YEAR’S CONTEST?

Take the plunge. It is very good practice. I cannot tell you how many contests I’ve applied to, submitted my work. I think I made a friend of rejection, especially after I’d heard that Gertrude Stein submitted poems for 22 years before she ever had one accepted. That was an eye opener.

When I learned that my story had been long-listed (a first), I was pleasantly surprised and grateful. Finally, one of my stories had been recognized. When I was told the story had been short-listed, I was bewildered, over-the-moon happy and excited. At the CNFC conference, when it was announced I had won the contest, I was utterly shocked. The other two authors were more established than me and were already published. I was grateful simply to have my work considered among them. My advice is to give yourself
the opportunity to find out how well you write. Give yourself the chance to win.


A sociologist specializing in human rights, Nancy O’Rourke has extensive field experience, primarily in Africa. Now, as an emerging writer studying Creative Writing at the University of Toronto, she is writing a memoir that examines processes of forgiveness, focusing on a group of children she befriended in Rwanda in 1992, lost during the genocide, and found later in 2010.

Excerpts from past CNFC contest winners

2018 winner: “Descent into Darkness,” by Nancy O’Rourke

Machetes. The weapons of choice. Crude weapons, many of them with blades stained dark by the blood of victims. Machetes used viciously in the streets, in markets, schools, and churches. Machetes used to maim and slaughter men, women and children. Machetes used by farmers, shop owners, teachers, and priests. Machetes used to kill strangers, neighbours and sometimes family members.

*

I’d only been reunited with the children of Kimihurura for two weeks. Back in Rwanda on a United Nations contract, I was recognized one day by a man on the street. A man who remembered me from 18 years earlier as the white woman, the Muzungu, who played with children. Back then, I spent several months in the country visiting my then partner, who worked on a contract with the Rwanda Development Bank. With a love of children, but without any of my own, I was happy to join in with a group of neighbourhood kids, playing soccer in the afternoons, with a ball made up of wound-up plastic garbage bags. Those kids were something else. They strung up little lights around my heart.

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2017 winner: “A Chaotic Jumble of Infinite Possibility,” by Joshua Levy

The bathroom was covered with graffiti.

For example:

The only things worth fighting for in this world are LOVE & FRIENDSHIP was written above the toilet. Immediately underneath: Wrong. You should never need to fight for love. And below, a third comment – this one in red: YOU are the fucking wrong one here, buddy. Love is a battlefield.

I washed my hands and checked my beard for signs of grey.

Outside, Toronto was only half awake. Fashionably dressed mannequins judged my plaid shirt and naturally faded blue jeans from behind glossy windows. In his car seat, a toddler pointed a gun at my head while we both patiently waited for the traffic lights to change colour.

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2016 winner: “Spectrum,” by Nicole Breit

RED

The wild strawberry flush across my chest, her cheeks. An illicit kiss in her basement suite.
Five years in, we start counting: two eggs bled away casually every month.
Then, six months of flirting, negotiations. Two hopeful women. A captivated man.
Cosmopolitans. Our red leather couch under mistletoe and holly berries. Jazzberry cartoon hearts radiate around all of us.
“Please don’t break our hearts,” I say.
“I won’t.” His scarlet cape promise. The last time we see him.
A year and a half later the rouged Costco employee, white hair rolled into a hairnet, hands out samples. Lights up, says “Such a beautiful baby!” and asks again, “But really, who’s the real mother?”
My girlfriend — the birth mother — looks down at her kid-size cup of tickle-me-pink sauce and says flatly, “This tastes terrible.”

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2015 winner: “Nana Technology,” by Kirsten Fogg

A faded picture of me and my little brother pops up whenever I turn on my phone. Here, encased magically in modern technology that my brother never knew, is the past that we were. It’s his third birthday, we’re sitting on top of the picnic table in striped bathing suits. I’m holding a patterned punching ball in my lap and his arms are reaching out, as if towards the future, but I know what he really wants is the chocolate cake mum’s carrying towards us.

Even today, I stare at the smart phone in my hand and marvel at its ability to link the past with the present, to take bits and pieces of me, my body and my voice, tear them apart, send them hurtling through the air and reconstruct them all on the other side of the world. In Skype milliseconds, I jump from Australia to Canada, from midnight to Manitoba morning, from today to yesterday, from my home office to Nana’s funeral. If only I could reconstruct my brother in the same way.

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2014 winner: “On Good Days,” by B.A. Markus

On good days I’m Gertrude Stein

On bad days I’m Mordecai Richler.

On good days it is the same sun that shone on Gertrude Stein that shines on me. On good days I fling open my shutters and shout, “Quelle belle journée!” and with my basket on my arm I wander as Alice B. Toklas did, from shop to shop in a delightful quartier.

In my delightful quartier I buy 200 grams of goat cheese from les Îles de la Madeleine. Artisanal cheese made from raw milk. Milk from goats who eat the grass that grows on the slopes of those northeastern shores. Grass cured by the Atlantic’s salty breezes. Cheese that tastes of the sea. This is what goes into my basket. On good days I hesitate between not one, not two, but four crusty white baguettes, all baked locally and according to the highest culinary standards. Just like on la rive gauche. Le pain, le pain, surtout le pain.

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