Conference

Canada’s Writing Conference

May 15-18, 2014. UBC Campus, Vancouver, BC.

UBC Campus

Writer? Teacher? Student?

Canada’s Writing Conference is for you. Join some of Canada’s most accomplished writers, educators and students on the beautiful campus of the University of British Columbia for a long weekend of readings, panels and seminars about the art and craft of literature. Register now.

keynotesKeynote Readings

Joseph Boyden, author of Born With a Tooth, Three Day Road, Through Black Spruce and The Orenda. Winner of the Writers’ Trust Fiction prize and the Giller prize, and most recently winner of CBC Canada Reads 2014.

Lisa Moore, author of the short story collections Degrees of Nakedness, Open, and the novels Alligator, February and Caught. Her books have been nominated for the Booker, Giller, IMPAC Dublin and she won the Commonwealth Award for best book in 2006. Lisa will read and be in conversation with Aislinn Hunter, author of Stay.

Amy Bloom, author of Come to Me, Love Invents Us, A Blind Man Can See How Much I Love You, The Story, Away,Where the God of Love Hangs Out and Lucky Us, as well as the children’s book Little Sweet Potato. Amy will read and be in conversation with Catherine Bush, author of Accusation.

Bookfair

Open to the public, this book and magazine fair features some of Canada’s finest literary presses and publications. Magazines in attendance include SubTerrain, PRISM international, Arc, Fiddlehead, Event, Geist, Filling Station, Eighteen Bridges, New Quarterly and more to be confirmed.

Panels, Papers & Presentations

The conference events consist of an intriguing and stimulating blend of panel discussions, forums, readings, presentations and papers, about:

  • the process of writing
  • the pedagogy of teaching writing
  • the business of writing and publishing
  • creating and managing educational programs for writers
  • elements of craft and criticism

Draft Schedule

Register online.

12:00 noon – 5:00 pm
Gage Lobby Registration
When you arrive at UBC you can register and pick up your nametag and conference package at any time between noon and 5pm on Thursday at the Gage conference centre. This is also where people staying at the UBC conference accommodation check in.
5:00 pm
UBC Campus Food Locations Dinner
Self-scheduled for attendees. See the food guide for dining suggestions.
8:00 pm
Frederick Wood Theatre Official Welcome and Keynote
A reading and conversation with Joseph Boyden. Book sales by Kidsbooks.
9:30 pm – 12:00am
Thea’s Lounge, UBC Graduate Centre Welcome Reception
Welcome reception.
8:30 am – 4:00 pm
Buchanan A Upper Foyer Registration
Check in and pick up your nametag and conference package if you were not able to do so on Thursday.
9:00 am – 5:30 pm
Buchanan A Upper Foyer Book Fair
Book sales by UBC Bookstore. Representatives from literary magazines and small presses from across Canada will be present.
9:00 am – 10:15 am
Room B218 Event 1: Aritha Van Herk, The Doubled Life. Panelists: Anne Giardini, Eric Freeze, Shane Book, Robyn Read. Craft and Criticism
Writers often have a day or night job to support their art and to put bread on the table. That job can be a digression, an alternative, a refuge, or an inspiration.  Writers have served the law, medicine, banking, and architecture. They make a living at waitressing, drywalling, bar-tending, copy-editing, advertising, fishing, and exterminating; they are bouncers and cabdrivers and lighthouse keepers. Some of these labours are a pleasure, some drudgery. But they all have an impact on a writer's practice.  This panel will explore the "other" that writers do. How do we negotiate the distractions, temptations and time loss? How does that work enhance our writing? Where do we draw the line between the work of writing and that "other" job?
Room B303 Event 2: Maureen Medved: Teaching off the Grid teaching creative writing inside and outside the universities and colleges. Panelists: Elee Kraljii Gardiner, Nilofar Shidmehr, Nancy Lee, Katherine Wagner. Pedagogy
This panel explores the benefits and challenges of teaching creative writing both within and outside the universities and colleges. Panelists: Elee Kraljii Gardiner teaches in Vancouver's Downtown Eastside, Nilofar Shidmehr teaches in Vancouver's Iranian community, Nancy Lee (UBC Creative Writing Program) teaches seniors, teens and ESL adults, and Katherine Wagner mentors at Booming Ground, UBC's online non-credit creative writing program run by creative writing MFA students. As moderator, Maureen Medved (UBC Creative Writing Program) wants to explore workshops both on and off the grid to learn how we can enhance the skills of participants and facilitators.
Room B309 Event 3: Dee Horne: Know the Place for the First Time? Panelists: Leanne Boschman, Dennie Theodore, Karin Weber. Cross-Genre Readings
Four women writers provide divergent perspectives about place and the idea of place across Canada. Leanne Boschman-Epp offers poems about British Columbia from the north coast to Vancouver Island while Dee Horne has written poems about environment and our relationships with the places we co-inhabit. Karin Weber has written a short story about Prince Edward Island and Dennie Theodore performs several humorous dramatic monologues about our places in life.
Room B315 Event 4: Darryl Whetter: Making Bad: Transgression in Recent Canadian Novels. Readers: Catherine Bush, Natalee Caple. Fiction Reading
Transgression has animated narrative from The Iliad to Genesis to Crime and Punishment and beyond. In 2013, three Canadian writer-professors released very different novels of real and/or perceived transgression. University of Guelph Creative-Writing MFA Coordinator Catherine Bush returns to her trademark shifting moral terrain in Accusation. Former Dalhousie University creative writing Coordinator Darryl Whetter slips borders of right and wrong in the multi-generational smuggling epic Keeping Things Whole. Brock University fiction professor Natalee Caple examines the long reach of transgressions of crime, family and gender in In Calamity's Wake.
10:15 am – 10:45 am
Buchanan A Upper Foyer Coffee Break
Coffee Provided.
10:45 am – 12:00 noon
Room B218 Event 5: Paper Presentation

Clint Burnham: Between fiction and reality: on dialogue. Fiction Craft & Criticism.

In this paper I discuss the role of dialogue in fiction in three ways: first of all mapping the appearing, in the 1960s and 1970s, of a certain "cinema verite" style of dialogue to be found in Andy Warhol's novel "a"  (1968), in the pulp fiction of George V Higgins, including "The Digger's Game" (1973) and in the maximalist fiction of William Gaddis, including "JR" (1975). I then reflect on my own use of that style, the style of incorporating digressions, repetition, and mistakes, in my novel "Smoke Show" (2005) and my current writing project. Finally, I turn to the teaching of this technique in creative writing classes,  exploring how such techniques cross high-low and art-literature boundaries and allow us to critique normative conditions for fiction and its representation of the Real.
Room B303 Event 6: Lynne van Luven: So you want to start an on-line magazine? Panelists: Nadia Grutter, Andrea Routley. Publishing, Editing, & Technology
Want to start your own on-line publication?  It's easy and relatively cheap.  And time-consuming and challenging.  Hear from UVIC students Andrea Routley and Nadia Grutter, as well as editor Lynne Van Luven, who have kept Coastal Spectator going as an alternate cultural voice for the past two years. Andrea also developed and edits the gay magazine Plenitude.
Room B309 Event 7: Christine Wiesenthal: What's the Matter? Thinking, Writing and Teaching through Things. Panelists: Aislinn Hunter, Suzette Mayr, Betsy Warland. Pedagogy
Attuned to the "explosion" of recent critical interest in "thing theory" and material culture, this panel will offer a multi-faceted exploration of how and why we write about 'things" and how we can teach our students to engage with the material world in innovative and alert ways. The panel will encompass both pedagogical and craft-based considerations of the role of "things" in the writerly imagination, on the page, and in the classroom, probing such issues as the power of the external object world, the dynamic function of 'things in specific literary/cultural texts and/or creative writing exercises, the traffic between the material and immaterial realms, the relationship between consumerism and things and/or words and things; "lost things" and the problem of nostalgia.
Room B315 Event 8: Group Reading, 3 Poets.

Jaime Denike: The Poetics of Species. Poetry Reading.
 
These poems investigates material, linguistic, and visual consumption in human and nonhuman animal encounters and generate a poetics of responsiveness that engages with nonhuman animals as both objects of representation and as beings with whom we, at times, share this life.

Adam Dickinson: Social Plastics: Polymers and Ecopoetic Writing. Poetry Reading.
Adam Dickinson will read from his new book of poetry The Polymers and discuss the pataphysical and ecocritical poetics central to the project. The Polymers is an imaginary science project that combines the discourses, theories, and experimental methods of the science of plastic materials with the language and culture of plastic behaviour.  Through various procedures, constraints, and formal mutations, the poems express the repeating structures fundamental to plastic molecules as they appear in cultural and linguistic activities such as arguments, anxieties, and trends.

Andy Weaver: A Reading from This, A Poetry Manuscript. Poetry Reading
I will read from and discuss the underlying formal and philosophical concerns in my collection of poems entitled This. By focusing on the role that language plays in mediating our experience of the world, the poems gesture towards Jean-François Lyotard's notion of the immanent sublime (an aspect of every event that we cannot imaginatively apprehend even though we know it exists) as it pertains to language use. Thus, the poems self-reflexively draw attention to themselves as created documents that mediate our experience both of themselves and of language in general.
Room B318 Event 9: Natalie Simpson: Writing Group for the Illiterate and Visually Impaired: Generative Praxis and Community. Panelists: Nikki Sheppy, Colin Martin, Jani Krulc, Marc Lynch. Cross Genre Reading
This cross-genre reading will showcase disparate works born of a collective, localized writing practice. The Writing Group for the Illiterate and Visually Impaired meets biweekly at a pub in Calgary, Alberta and provides its members (poets, short story writers, novelists, translators) with shared writing time, literary discussion, and exchange of creative ideas.  Panelists will read from their creative writing projects, situating their readings within a discussion of how participating in this inclusive, informal writing group has enhanced their individual writing processes and deepened their sense of community.
12:00 noon – 1:45 pm
Various Locations Lunch
UBC restaurants at the Student Union Building and across campus are available for takeout and sit-down lunches. See the printed program for a dining guide.
1:45 pm – 3:00 pm
Room B218 Event 10: Priscilla Uppal:  Adaptation as Metamorphosis: Because One Life Just Isn't Enough. Panelists: Maureen Medved, Daniel Scott Tysdal. Other Forms: Craft & Criticism
This panel will illuminate the challenges of adaptation across literary and non-literary genres. Daniel Scott Tysdal asks questions like 'What would Rilke write for Craiglist?', 'How would MAD magazine have changed Emily Dickinson?' Maureen Medved, through her own and other examples, demonstrates how an adaptation must be approached newly and separately from its source material. Priscila Uppal recently adapted a poem into a memoir and into a play, and will offer practical advice on the process.
Room B303 Event 11: Andrew Westoll: Teaching the Real: Creative Non-Fiction in the University. Panelists: Julija Sukys, Timothy Taylor, Stephen Kimber. Pedagogy
This may or may not be the Golden Age of creative non-fiction (CNF). What's not debatable, however, is that every year increasing numbers of aspiring writers enrol in classes that focus on the art and craft of telling true stories. This panel discussion brings four accomplished CNF writer/instructors together to compare their teaching methods, share the various solutions they have found to instructional challenges, and debate the merits of practical versus theoretical approaches to teaching CNF.
Room B309 Event 12: Papers & Presentations

Dawn Bryan: Rhetoric in the Creative Writing Undergraduate Classroom: What are Readers for? Pedagogy.

As creative writing instructors, we teach students to show not tell, to use concrete, specific rather than abstract, general language, and to find language that defamiliarizes the familiar, but how best to demonstrate to our students the operation of these foundational ideas?  This paper explores the premise that creative writing teaching at the undergraduate level can benefit from the addition of a multidisciplinary approach that uses a theoretical construct borrowed from classical rhetoric.

Catherine Hunter: Rough Copy: Using Authors' Drafts to Teach Creative Writing. Pedagogy.

As Creative Writing teachers know, many cultural myths about artists impede students' progress. Possibly, the myth that poems and stories should "flow" spontaneously from the writer is one of the most destructive. One way to counter this myth is to incorporate the drafts of published authors into classroom lectures and assignments, so that students can study the authors' revisions..

Anna Keefe with Ngwatilo Mawiyoo: Inspiring youth poets: Artists with a vision worth realizing. Pedagogy; Poetry Craft & Criticism.
Writing poetry can help youth uncover their sense of agency and self-worth as they overcome challenges and engage productively with personal differences. We will explore what possibilities can open up for youth when they are treated as artists with a vision worth realizing and given the support and skills to be courageous in their creative goals. We will highlight inspiring practices in teaching poetry with youth, and get interactive with our audience to explore learning about different viewpoints and identities through writing.
Room B318 Event 13: Renee Saklikar:  Performance as a Site of Research. Panelists: Wade Compton, Jordan Abel, Jen Currin, Ray Hsu. Poetry Craft & Criticism; Poetry Readings
In the crosshairs of language, literature, spoken word, and drama, lies the modern day poetry reading. What practices do published poets employ to produce a literature that inhabits the aural as well as the demands of the text? How might poets respond to bpnichol's dictum: performance as a site of research: Wayde Compton, Jordan Abel, Jen Currin, and Ray Hsu in conversation with Renee Sarojini Saklikar, will give short talks about their poetic practice and their ideas on approaches to poetry.
Room B315 Event 14: Literary Magazine Group Reading 1.
Join us to hear work by Elise Partridge (reading from Event), Doretta Lau (Ricepaper), Andrea Bennett (Geist), Jeff Steudel (subTerrain) and Elee Kraljii Gardiner (Prism). Hosted by Elizabeth Bachinsky.
3:00 pm – 3:30 pm
Buchanan A Upper Foyer Coffee Break
Coffee provided.
3:30 pm – 5:00 pm
Lecture hall A101 Plenary Session: First Page Challenge.
In this exciting, interactive group event, an agent, writing teacher and editor will review the first pages of works of fiction and creative non-fiction submitted in advance by anonymous conference participants. They’ll provide quick critiques and answer the burning question: would they keep reading on?
5:00 pm – 7:30 pm
Various locations Dinner Break.
UBC restaurants at the Student Union Building and across campus as well as in town nearby are available for takeout and sit-down lunches. See the printed program for a dining guide.
8:00 pm – 9:30 pm
Frederick Wood Theatre Keynote Reading
A reading and conversation with Amy Bloom. Amy in conversation with Catherine Bush from the University of Guelph. Book sales by Kidsbooks.
9:30 pm – 12:00am
Thea’s Lounge, UBC Graduate Centre Evening Reception & Reading
An evening reception, including a special reading event. Details to come.
8:30 am – 4:00 pm
Buchanan A Upper Foyer Registration
Check in and pick up your nametag and conference package if you were not able to do so on Thursday or Friday.
9:00 am – 5:30 pm
Buchanan A Upper Foyer Book Fair
Book sales by UBC Bookstore. Representatives from literary magazines and small presses from across Canada will be present.
9:00 am – 10:15 am
Room B218 Event 15: Daniel Scott Tysdal: Creative Writing and English Studies: Reassessing the Relationship. Panelists: Christian Bok, Larrisa Lai, Sharon Thesen. Craft & Criticism
As a practice, field, and course of study, creative writing has neither a stable nor a uniform place with regard to English Studies. Indeed, creative writing is often viewed equally as a heterodox outlier within English departments and as a growth area that might reinvigorate such departments. How might we reimagine the relationship between creative writing and English? This session will feature a short talk by each panellist, followed by full-panel discussion and a question period.
Room B303 Event 16: Alison Acheson: Dancing with The Other Art(s) Forms to Edify the Writing Life. Panelists: Richard Scrimger, Cathleen With, Michelle Superle. Fiction Craft & Criticism; Pedagogy
How do we Play when writing becomes Work? And when teaching—and the inevitable administration—threatens to deaden creating and guiding others through the process? Four working writers and writing instructors share the art forms that edify and sustain—from the more obvious of music, dance, and visual art, to expanding ideas of ‘form’even to the risky! How do we discover these formsor do they find us? How do we weave them into our lives? And how do they find their way out to the world?
Room B309 Event 17: Sarah Leavitt: Comics! Teaching the graphic form in creative writing programs. Panelists: Taylor Brown-Evans, Mary Schendlinger. Pedagogy
In this lively panel discussion, three comics creators who also teach comics will discuss their approaches to teaching students to create comics. How do we embolden creative writing students to try making comics for the first time? How do we use comics creation in visual studies and cultural theory classes? If you "can't draw" can you still take a comics class? The discussion will be followed by a slideshow of the panelists' own work.
Room B315 Event 18: Patrick Downes: A Happy Talent: Writers at Play. Panelists: Michele Irwin,  Elise Levine. Cross-Genre Readings
"
It is a happy talent," Emerson says, "to know how to play." A happy talent with serious rewards. Play leads to discovery, innovation, and pleasure. It refreshes us, our minds and spirits, and our work. This cross-genre panel of poets and prose writers, writers for both children and adults, will explore, discuss, and inspire writers' play.
Room B318 Event 19 Clare Goulet, "to write as the composer composes": research-based creative polyphonic composition for university. Pedagogy. Paper
The close relationship of music and poetry, of music and literature is long established, at least as far back as the marriage, in Greek mythology, of Harmonia to Cadmus, bringer of the alphabet: a polyphonic assignment offers students the challenges and pleasures of technical enactment of that relationship, an arrangement and interweaving of voices, "the musical handling of the art of writing." Polyphonic pieces'”resonant, multi-voiced, musically arranged structures'”draw on an arrangement of original writing and researched material and make for challenging projects well suited to university-level study of creative writing.

Lorri Neilsen Glenn, The Lyric Essay: Writing and learning in a New Key. Craft & Criticism – NF, Poetry, Pedagogy. Paper, discussion & workshop.
Part poem, part meditation, braided, layered or bricolage, the lyric essay is an innovative and challenging form. What are its boundaries, its defining elements? How do writers approach and mentors support the work involved in the creation of the lyric essay? This session will combine a paper, discussion, and a short workshop focusing specifically on creative nonfiction's unique blend of poetry and prose.
10:15 am – 10:45 am
Buchanan A Upper Foyer Coffee Break
Coffee Provided.
10:45 am – 12:00 noon
Room B218 Event 20: Sara Graefe, Beyond Syd Field: Rethinking Screenwriting Pedagogy. (Pros and cons of 3 act structure). Panelists: Amnon Buchbinder, Linda Svendsen, Patricia Gruben. Pedagogy
Since the publication of Syd Field's seminal text Screenplay almost thirty-five years ago, three-act dramatic structure has been the cornerstone of screenwriting pedagogy in post-secondary Creative Writing and Film programs. Four screenwriting professors come together to discuss the pros and cons of the three-act paradigm as a primary teaching tool, and to consider complementary and alternative ways to approach teaching storytelling for the screen.
Room B303 Event 21: Andrew Westoll: Reading the Real: A Convergence of Creative Non-Fiction and Poetry. Readers: Daniel Scott Tysdal, Sharanpal Ruprai, TBA. Cross-Genre Readings
In this cross-genre reading event, two poets and two non-fiction writers grapple with the idea of "the real." From deep inside the minds of traumatized chimpanzees to an amusement park that existed nowhere but the imagination, from the relationship between a man and his horse to the relationship between Sikh women and the Canadian landscape, these writers bring their own unique interpretations of the truth to the challenge we all face: how should we engage with everyday reality in order to comprehend it?
Room B309 Event 22: Papers & Presentations

Catherine Bush, Passion or Dispassion: Can We Love What We Teach And/or Teach What We Love? Pedagogy. Paper.
What might the contentious issue of 'teaching what you love' mean when it comes to approaching published texts in the creative writing classroom? I propose to interview colleagues about how they contend with teaching what they love (or not). I also intend to examine my own practices. Is it possible to use the word 'love' in relation to the texts we teach? If we dare not speak of love, how do we convey to our students that literature is an art that matters?

Mark Giles, Making Belief: crypto-Buddha, quasi-Spinoza, fake-Moses and the Yearning for Learning. Pedagogy. Paper.
Creativity cannot be taught. Creativity cannot be learned. I teach creative writing at a university. Something's gotta give. Many students arrive in a creative writing seminar looking to exercise those 'intuitive tools' which are so effectively exorcised in the rationalized neoliberal post-secondary environment. And yet they are also eager for measurable and systematic progress (rather than process). I propose the instructor must simultaneously adopt three personae to negotiate the paradoxes: crypto-Buddha, quasi-Spinoza, and fake-Moses.

Nina Johnson, Labyrinths and Student Learning: Mindfulness and Creativity Research Results.
This paper will present the research results from a pilot project titled "Labyrinths and Student Learning: The Effects of Contemplative Practices on Anxiety, Concentration, and Creativity."  The study investigated the relationships between mindfulness practice using finger labyrinths and the potential to reduce anxiety, improve concentration, and enhance creativity.
Room B315 Event 23: Priscilla Uppal: All in the Family: Writing the Good, the Bad, and the Ugly Aspects of Family in Novels and Memoir. Panelists: David Chariandy, Joseph Kertes. Cross-genre Reading
Three authors will read from and discuss the complexity of representing family dynamics in literary fiction and non-fiction. David Chariandry will present from his first novel, Soucouyant, and his forthcoming second novel, Brother, both concerned with family secrets. Joseph Kertes will present The Afterlife of Stars, a novel about a young Hungarian family fleeing the Russians in 1956, just as the invaders are pulling down the Iron Curtain. Priscila Uppal will present Projection: Encounters with My Runaway Mother, a memoir that details the bizarre twelve-day trip in Brazil with the estranged mother who abandoned the author, her brother, and their quadriplegic father twenty years previous.
Room B318 Event 24: Natalie Meisner: Straddling the Creative/Critical Divide. Panelists: Aritha Van Herk, Clint Burnham, Donia Mounsef. Other Forms, Craft & Criticism
A roundtable discussion with writers who theorize and academics who write. Are there rules (spoken or unspoken) stating that we ought to all keep to our proper domains? It can often seem as though there is a kind of suspicion aimed at a creative work that suddenly bursts forth from a heretofore standard academic. And yet years spent thinking and theorizing and turning over ideas about writing are just the ideal conditions to foment enduring and innovative works of literature.  On the other hand, does creativity contain an element of the mysterious despite any study or investigation? Does reading theory support or deny the creative process? Or perhaps the codification of theory vs. creative writing is, itself a fiction?
12:00 noon – 1:45 pm
Various Locations Lunch
UBC restaurants at the Student Union Building and across campus are available for takeout and sit-down lunches. See the printed program for a dining guide.
1:45 pm – 3:00 pm
Room B218 Event 25: Stephanie Bolster: Poems Of Ours We Hate. Panelists: Barbara Nickel, Christopher Patton. Poetry Craft & Criticism
If we hope to evolve as writers, moving beyond our past work is inevitable. Whether the disenchantment sets in during the initial draft or accrues over a period of years, whether it involves others' assessments or only our own, whether it manifests itself as boredom, embarrassment, or revulsion, it can be as instructive as it is unsettling. What can we learn about poetry, and about ourselves, from these responses? How to trust that the important line or poem is the one about to be written, while honouring its cringe-inducing ancestors? Three poets explore these questions from varying personal perspectives.
Room B303 Event 26: Papers & Presentations

Jeremy Stewart: Legitimacy Warz:' Creative Writing Pedagogy and Being a Real Writer. Pedagogy.
The increasing institutionalization of writing, represented by the growth of the academic discipline of Creative Writing, has precipitated a cultural identity crisis. Writers are supposed to be romantic rebels and outsiders; mad, bad, and dangerous to know. How are we to reconcile that with their newfound status and security as academics, that privileged minority, insulated from the world in their ivory towers? Taking an approach that is scholarly and personal, serious and satirical, I argue for a pragmatics of realness, historicizing it, and treating it as an economy of signification. Arming writers and scholars with the weapons of 'Legitimacy Warz.'

Darryl Whetter: Dr. No: Canada's Globally Anomalous Disinterest in Creative Writing PhDs. Pedagogy. Paper
The number of Canadian CW masters' programs doubled in the 2000s, yet the number of anglophone CW PhD programs has remained stagnant since the late 90s while the rest of the anglophone world regularly expands creative doctoral programs. Drawing on material accepted for inclusion in Creative Writing in the 21st Century: Pedagogy, Research, and Practice (Eds. Priscila Uppal and Rishma Dunlop) this paper wonders why Canadian doctoral literary education still prefers writing about to writing.
Room B309 Event 27: Michael V Smith: Teaching Writing for Media. Panelists: Aaron Goodman,  Nicola Harwood. Pedagogy
Capitalizing on social networking and the influence of (new) media on art production, these instructors share their experiences teaching students how to make quality writing projects using media. From writing within software programs like Second Life, to making experimental films, to site-specific installations, to writing for broadcast in apps, come hear some ideas for how to help a new generation of tech-savvy students make writing that matters.
Room B318 Event 28: Joint Panel.

Frances Backhouse: From MFA to Page and Stage: Getting Your Thesis Published or Produced. Panelists: Peter Boychuk, Aaron Shepard, Melanie Siebert
While most grad students aspire to publication in scholarly journals, creative writing MFAs dream of seeing their words flow to audiences through bookstores or theatres. Join four MFA graduates a poet, a playwright, a fiction writer and a literary journalist who have cleared the publishing/production hurdle and learn about the challenges, surprises and rewards entailed in this leap. The panellists will discuss issues such as the constraints (and freedoms) created by having an eye on the buying public and the delicate post-thesis revision process, and offer advice on persevering through endless submissions, leveraging ongoing opportunities out of initial success and more.

Plus: Philip Adams: Writers reading in public. Agents, Contracts & Marketing.
Writers struggle to put words on the page so that they are clear, impactful, make the intended impression, and aren't boring. So why would that writer want to bore an audience at a public reading? Why would a nervous flush and a quavering voice hold the attention of an audience? It is not what we want. It is not what we strive for on the page. So why would we settle for anything less from the stage? There are few things that we can do to ensure that our words say what we want them to. It is vital to marketing our work because those listeners, once moved by our performance, may very well go to the back of the room and purchase our books.
Room B315 Event 29: Literary Magazine Group Reading 2. Join us to hear work by Clea Young (reading from The Fiddlehead), Kayla Czaga (Arc), ryan fitzpatrick (filling station), Lori Mcnulty (The New Quarterly), and Joelle Barron (The Malahat Review). Hosted by Aislinn Hunter.
3:00 pm – 3:30 pm
Buchanan A Upper Foyer Coffee Break
Coffee provided.
3:30 pm – 5:00 pm
Lecture hall A101 Plenary Session: Writing Programs in a Global Context
Join members of international writer’s associations in conversation with Lynne Van Luven, CCWWP Chair. Featuring Jen Webb (AAWP – Australia), Paul Hetherington (AAWP – Australia); Robin Reagler (AWP – United States); Paul Munden (NAWE – UK).
5:00 pm – 7:30 pm
Various locations Dinner Break.
UBC restaurants at the Student Union Building and across campus as well as in town nearby are available for takeout and sit-down lunches. See the printed program for a dining guide.
8:00 pm – 9:30 pm
Frederick Wood Theatre Keynote Reading
A reading and conversation with Lisa Moore. Lisa in conversation with Aislinn Hunter from Kwantlen Polytechnic University. Book sales by Kidsbooks.
9:30 pm – 12:00am
Thea’s Lounge, UBC Graduate Centre Evening Reception & Reading
An evening reception, including a special reading event. Details to come.
9:30 am – 11:00 am
Lecture Hall A101 CCWWP Annual General Meeting
All membership are invited and welcome. Elections for new board members and discussion of the next conference.
11:30 am12:30 pm
Room TBA CCWWP Board Meeting.

Note: schedule may change before the conference.