The New Members Reading is an LCP tradition, where we welcome new members to share their work with us. Depending on the number of new readers we may also be able to accommodate an Open Reading too. The LCP is very excited to host this reading and showcase new poetry works.
FREE EVENT. Feel free to invite your family/friends and enjoy the creative energy in the room!
Hosted by Anne Burke and Katie Flaherty
Venue: Studio Theatre
This event will feature the energetic, new voices of the Canadian creative writing scene. Students from across the country will read in a variety of genres and styles.
Moderated by Jill Goldberg
FREE EVENT. All are welcome.
Venue: Lakeside Terrace
Nalo Hopkinson, born in Jamaica, has lived in Jamaica, Trinidad, and Guyana, and for the past 35 years in Canada. She is currently a professor of creative writing at the University of California, Riverside, USA. She is the author of six novels, a short story collection, and a chapbook. Hopkinson's work has received Honourable Mention in Cuba's "Casa de las Americas" literary prize. She is a recipient of the Warner Aspect First Novel Award, the Ontario Arts Council Foundation Award for emerging writers, the John W. Campbell Award for Best New Writer, the Locus Award for Best New Writer, the World Fantasy Award, the Sunburst Award for Canadian Literature of the Fantastic (twice), the Aurora Award, the Gaylactic Spectrum Award, and the Norton Award. A new short story collection, Falling in Love With Hominids, was released in 2015 from Tachyon Publications.
Venue: Fleck Dance Theatre
Join the Writers' Trust of Canada for a celebration of the 10th anniversary of the Dayne Ogilvie Prize for LGBT Emerging Writers. The prize, presented annually to writers who demonstrate great literary potential, is the only one of its kind serving the LGBT community in Canada. Come and cheer on as an award of $4,000 goes to the winner and two honours of distinction are presented.
Hosted by Brian Francis.
FREE EVENT. Cash bar. All are welcome.
Venue: Brigantine Room
Working freelance may not produce a predictable income, but freelancers have many opportunities for tax savings that aren’t available to those with regular jobs. Topics include writing as a business (or as a hobby), tracking revenues and expenses, and HST. Feel free to bring last year’s tax return and your questions will be answered (if time permits).
Anitha Robinson has an unusualcombination of credentials: she’s a chartered accountant and a creative writer for kids. Anitha lives on a farm with her husband, their two children, two dogs, two horses, and one cat.
Presenter: Anitha Robinson
Venue: Architecture Gallery
What do Jennifer DiGiovanni (My Senior Year of Awesome), Laurie Elizabeth Flynn (Firsts), Catherine Lo (How it Ends), Jenny Manzer (Save Me, Kurt Cobain), and Wendy McLeod MacKnight (It’s a Mystery, Pig-Face!) have in common? They're authors living in Canada who have written Young Adult and Middle Grade novels being published in 2016. As the KidLit writing space gets more and more crowded and competitive, Jennifer, Laurie, Catherine, Jenny, and Wendy will share what it takes to stand out.
Venue: Market Tent D
Family members become mythical figures and family stories become myths. In this cross-genre reading event and conference paper, three creative writers will present their work and discuss the ways that family archives can fuel — and complicate — the creative process. Combining craft, criticism, and readings, Catherine Hunter, Tanis MacDonald, and Sharanpal Ruprai will discuss the rich potential, and risks, of using family archives in creative work.
Venue: Loft 2
Contemporary creative writing teachers are superheroes. We strive to introduce students to entwined genres, multiple technologies, and/or some of the evolving social expectations on writers, as well as covering basic writing and editing skills in traditional genres. In this session, W. Mark Giles discusses ways to get students excited about the permeable border between fiction and nonfiction, while Kathy Mac presents the benefits (many) and challenges (few) in creating student shadow juries for real literary awards.
Venue: Market Tent C
Michael Helm will discuss the practice of play in discovering intention in fiction writing. Neil Surkan and Robert McGill will examine the common perception of Creative Writing mentorship as a form of substitute parenthood. Considering the emotional labour and psychological dynamics that mentorship involves, we will discuss how the conception of mentorship as in loco parentis inhibits the imagining of alternative forms that mentorship can take, and we will argue for self-reflexive mentorship that attends to the role-modelling, power structures, and affective stakes in mentoring relations.
Venue: Loft 1
Six women writers who are playwrights/performers/poets (several are all three), will present their experience and ideas on performance. During the panel, we will also launch an anthology with essays by the panellists, published in the League of Canadian Poets’ Feminist Caucus Archive series (poets.ca/feministcaucus), edited by Penn Kemp. It will be available online through playwrightsguild.ca.
Venue: Miss Lou's Room
In the emerging capitalist Anthropocene, science, in its most technocratic and analytic form, currently dominates cultural evaluations of truth and usefulness, driving political and economic agendas. This panel is composed of poet/scholars actively engaged with science and technology who produce poetic works intrinsically dependent on research into such specialized domains as genetic engineering, microbiology, toxicology, biosemiotics, and neuroscience. Through a discussion and presentation of current work, these writers respond to the complex roles of science and technology in engendering new forms of reading and writing in the Anthropocene.
Venue: Market Tent A
This panel brings together accomplished creative writers who are also teachers to discuss the ways in which they impose control, through specific frameworks or overarching structures, upon their creative pedagogies. What role do frameworks have to play in a creative writing context? Is it possible to encapsulate seemingly disparate teaching moments into overarching concepts? How do we structure our pedagogy, if at all? And is there a difference between the frameworks we impose when working within a university context compared with learning environments that reach beyond the traditional campus? We explore the flip side of creativity and the need for creative structure in teaching, to best nurture the inevitable tension between chaos and control in classrooms.
Venue: Market Tent E
In "Teaching Creative Writing in the New Millennium," Braydon Beaulieu, Jennifer Duncan, Clare Goulet, and Karl Jirgens explore the changing nature of textuality in the digital age, and they examine pedagogical approaches to teaching creative writing in the context of these changes. This session explores a broad range of topics ranging from digital games to post-literariness, from pedagogical models to course design. It also provides a succinct survey of contemporary creative writing pedagogies, both traditional and innovative.
Venue: Boulevard Tent
In this lively and frank Q&A panel, five MFA graduates will openly discuss their experiences in full residency and low residency programs across Canada and the United States. Panelists will share practical advice on the application process, from choosing programs and soliciting letters of recommendation to preparing the most effective and successful personal statements and writing samples. Topics include when and why they embarked on an MFA and the diverse variations among workshop versus literature-focused degrees. We will examine the competitive “waiting game” strategy of acceptances, rejections, GREs, entrance interviews, and of course, the dreaded wait-list. We promise to answer all your questions.
Venue: Market Tent B
Heather O'Neill's first novel, Lullabies for Little Criminals, earned accolades around the world, including being named winner of Canada Reads 2007 and the Hugh MacLennan Prize for Fiction, and being a finalist for the Governor General’s Award for Fiction and the Orange Prize. She is a regular contributor to CBC Books, CBC Radio, National Public Radio, The New York Times Magazine, The Gazette (Montreal), and The Walrus. She was born in Montreal, where she currently lives.
Venue: Lakeside Terrace
Book covers have only a second to grab a reader’s attention, to make them consider picking the book up — but book design encompasses far more than the cover. This fascinating discussion by two of the industry’s top book designers includes lots of visuals, and a fascinating, eye-opening discussion of the elements, trends and issues that influence their craft.
Over his thirty-year career, award-winning book designer CS Richardson has designed some 2000 books. Vice President and Creative Director for Penguin Random House of Canada, Richardson is also an acclaimed novelist. The End of the Alphabet was an international bestseller in many languages, and The Emperor of Paris was longlisted for the Scotiabank Giller Prize.
David Gee started designing book covers by accident in 2006, while holding down jobs in advertising and as the Creative Director of the Toronto International Film Festival. He now has a roster of international clients, and his work has been featured in a number of books on book design, as well as WIRED magazine, GQ Italia, Quill & Quire and Playboy. His only Alcuin award is for a book about hockey, and he is currently not writing his first novel.
Venue: Studio Theatre
In this dynamic, interactive session, Danielle Metcalfe-Chenail, editor of the forthcoming anthology In this Together: Fifteen True Stories of Real Reconciliation (Brindle & Glass, 2016), and contributors Carol Shaben, Carleigh Baker, Lorri Neilsen Glenn, and Erika Luckert will discuss how it came about, what the process of writing their essays was like, and how they are using their voices to further the Calls to Action of the Truth and Reconciliation Commission. It will tackle the challenges they face as they research, write, edit, and publish stories around Canada’s colonial past and present, and offer some hard-won insights for those who want to move reconciliation forward.
Venue: Exhibition Common Tent
Research, extraction, appropriation, and ownership are now at the forefront of current writing practices. These panelists dig into diverse source materials – Barbeau's ethnographies, Western novels, one's own work published years ago, court records of the Air India terrorist trial, poems by Notley and Bishop – to deconstruct their layers. They then build poems that re-imagine power, ownership, intention, and influence. We will discuss relationships between research and invention, share techniques devised for our explorations, and unearth the personal and political visions that compel us to create such art.
Venue: Market Tent A
Every creative writer knows the self-doubt that accompanies the beginning of a new project. No matter how many stories or novels or plays or poems you have under your belt, the blank page never loses its power to intimidate. But when that new project is in a genre you’ve never written in before, something unexpected and (yes) vaguely magical can occur: that anxiety, that fear of failure, can be softened — even alleviated completely — by the joy and creative fulfillment that results from exploring new forms and directions. In this cross-genre reading event, four accomplished creative writers will present from new or forthcoming projects in genres they have never worked in before: a poet will present his first short film, a nonfiction writer will read from his debut novel, a poet and memoirist will read from her debut play, and a poet (concealed in an academic body) will read from a novella. The result will be a series of readings that channel the fervour of the artist at play in a new sandbox, and that inspire writers at all stages to continue pushing their creative horizons.
Venue: Boulevard Tent
Students come to MFA programs to study writing. Many also hope to gain teaching experience that will help them make a living upon graduation. What responsibility does an MFA program have to provide instruction in pedagogy and teaching opportunities for its students? Faculty from three Canadian MFAs — UBC, Guelph, and USask — and an MFA graduate will discuss the diverse ways in which their programs approach this issue, ranging from a class in pedagogy, to teaching practicums, to ad hoc mentoring. We’ll describe what we do and what we think should be done to teach writers to teach writing.
Venue: Market Tent C