July 8 - 13, 2018
Since 1992, the Humber School for Writers (HSW) has offered an immersive, focused workshop to jump start your creative writing. During our Summer Workshop in Creative Writing, mornings are spent in classes with one of Humber’s esteemed writing advisors, and afternoons are devoted to craft and industry talks by Canada’s top authors, poets, publishers, editors and agents. Whether you’re a beginner or a more experienced writer, there’s something for you in our July writing workshop!
The workshop runs from July 8 to 13, 2018 and consists of Sunday panels and a reception, five weekday classes from 9:30 am to 12:30 pm, a lunch break, and afternoon lectures. Tuition rates will be confirmed in early 2018. Some scholarships are available to applicants with limited income.
you want to learn to write short stories, novels, poetry, memoir, creative non-fiction, Y/A (young adult) or children’s literature
you’re already working on a book but would like to improve your writing with feedback from established writers and your peers
you’d like to know how to find someone to publish your work
you’d like to build your professional network through meeting top authors, agents, editors, publishers, and publishing professionals
Notable alumni authors include
“One of the best programs of its kind in North America.”
~ The Globe and Mail
“ . . . a course not only highly regarded in this town, but praised on the world literary stage.”
~ Toronto Life
David Bezmozgis, a writer and filmmaker, is incoming Director of the Humber School for Writers. He is the author of Natasha and Other Stories, The Free World and The Betrayers. His writing has appeared in many publications, including The New Yorker, Harper’s, Zoetrope All-Story, and Best American Short Stories. He has been twice nominated for the Scotiabank Giller Prize, the Governor General’s Literary Award and has received the Amazon.ca First Novel Award among other prizes. In 2010, he was one of the New Yorker’s 20 Under 40. David has written and directed two feature films, Victoria Day and Natasha, each nominated in the writing category at the Canadian Screen Awards. Most recently, David was on the writing staff of the television series Orphan Black.
Ariadna Jimenez is the program assistant to the Humber School for Writers and the Creative Book Publishing program.
Scholarship applicants will automatically be considered for all available scholarships. To apply for these, please state your wish to apply prominently in your cover letter and check the box on the form. Because competition for scholarships is keen, applicants must provide:
The scholarship amount, if awarded, will be paid by cheque after the workshop.
*The KOBZAR, Wayson Choy, and Jean-Marc Iammatteo scholarships are aimed at the following specific groups:
Late applicants may find that scholarship funds have been exhausted. Scholarship cheques, if awarded, will be sent some weeks after the deadline and may arrive after the workshop is over.
Authors who have taught in the program:
Elizabeth Abbott, Edward Albee, Martin Amis, Margaret Atwood, Joan Barfoot, Kevin Barry, Richard Bausch, Ann Beattie, Jonathan Bennett, Constance Beresford-Howe, David Bergen, Michelle Berry, David Bezmozgis, Sandra Birdsell, Neil Bissoondath, H.S. Bhabra, Francesca Lia Block, Dennis Bock, Joseph Boyden, Dionne Brand, Bonnie Burnard, Catherine Bush, Barry Callaghan, Stevie Cameron, Peter Carey, Hayden Carruth, Wayson Choy, Eliza Clark, Trevor Cole, Karen Connelly, Douglas Cooper, Sally Cooper, Carole Corbeil, Michael Coren, Alan Cumyn, Robyn Davidson, Lauren B. Davis, Anthony De Sa, David Donnell, Roddy Doyle, Elizabeth Duncan, Esi Edugyan, Howard Engel, Timothy Findley, Richard Ford, Cecil Foster, Bruce Jay Friedman, Mary Gaitskill, Mavis Gallant, Camilla Gibb, Graeme Gibson, Julia Glass, Samantha Harvey, Elisabeth Harvor, Michael Helm, Aleksandar Hemon, Lawrence Hill, Miranda Hill, Nalo Hopkinson, Isabel Huggan, Helen Humphreys, Ha Jin, Diane Keating, Joseph Kertes, Janice Kulyk Keefer, Hari Kunzru, Rachel Kushner, Shaena Lambert, Carole Langille, Andrea Levy, Mark Leyner, Annabel Lyon, Jake MacDonald, Alistair MacLeod, Rabindranath Maharaj, Valerie Martin, John Bentley Mays, John Metcalf, Anne Michaels, David Mitchell, Christopher Moore, Lisa Moore, Kim Moritsugu, Donna Morrissey, Sylvia Mulholland, Dan Needles, Howard Norman, Tim O’Brien, Caryl Phillips, Alison Pick, Bruce Powe, Francine Prose, Paul Quarrington, Michael Redhill, David Adams Richards, Nino Ricci, Daniel Richler, Mordecai Richler, Robert Rotenberg, Elizabeth Ruth, Robert J. Sawyer, Richard Scarsbrook, Richard Scrimger, Shyam Selvadurai, Olive Senior, Sarah Sheard, Carol Shields, Antanas Sileika, Joseph Skibell, Johanna Skibsrud, Marsha Skrypuch, Linda Spalding, Josef Skvorecky, Susan Swan, D. M. Thomas, Miriam Toews, Barry Unsworth, Jane Urquhart, Guy Vanderhaeghe, Erika de Vasconcelos, M.G. Vassanji, Marianne Wiggins, Frieda Wishinsky, Meg Wolitzer, Eric Wright, Richard B. Wright, Tim Wynne-Jones
Nell Freudenberger, Timothy Findley Visiting Chair in Creative Writing
Doing It For The First Time: What New Authors Need to Know
Barbara Berson, Helen Heller Agency and Former Senior Editor at Penguin Canada
What To Write Next: How an Author Chooses Their Subject
Colin McAdam, Summer Workshop Faculty
Making a Bestseller: The Story Behind The Book of Negroes
Iris Tupholme, Senior Vice President and Executive Publisher of HarperCollins Publishers
Point People: How Publicists and Editors Work Together
Rob Firing, Senior Director, Publicity, Communications, and Speaker’s Bureau, HarperCollins Publishers; Jennifer Lambert, Editorial Director, HarperCollins Publishers
Bearing Witness: Writing a Memoir of the Holocaust at Age 85
Max Eisner, author of 2017 RBC Taylor Prize-nominated, By Chance Alone, talks about writing and publishing a first book late in life.
What You (Need To) Know: The Art of Literary Research
Alissa York, Summer Workshop Faculty
Prose or Poetry: Writing Outside the Box
Olive Senior, Summer Workshop Faculty
Family Fiction: Choosing Fiction Over Memoir
Joseph Kertes and Nino Ricci, Summer Workshop Faculty, in Conversation
The Role of the Independent Presses
Alana Wilcox, Editorial Director, Coach House Books; Jack David, Co-Publisher and Editor, ECW Press
The State of Canadian Publishing
Sarah MacLachlan, President and Publisher, House of Anansi Press; Kevin Hanson, President and Publisher, Simon & Schuster Canada
Sarah Meehan Sirk (The Dead Husband Project), Steven Skurka (Tilted: The Trials of Conrad Black), Kasia Jaronczyk (Lemons), and Karen Smythe (This Side of Sad), School for Writers Alumni
What Agents Want
Hilary McMahon, Executive Vice-President, Westwood Creative Artists
Nick Garrison, Associate Publisher, Penguin Random House Canada; Jenny Bradshaw, Editor, McClelland & Stewart
Email the following documents to Ariadna.Jimenez@humber.ca by DEADLINE TBC:
Please make sure that pages are numbered, double-spaced in 12-point font, and that your name appears on each page.
For application inquiries, please contact Ariadna Jimenez at 416-675-6622, ext. 3449 or Ariadna.Jimenez@humber.ca
“A very good writing school.”
David Mitchell, author of Cloud Atlas
It is a prominent writing workshop with an excellent track record.
You will spend five intense mornings in class with colleagues and your teacher poring over your work and the work of others. You will spend five afternoons hearing from writers and publishing professionals about how they achieved their goals and how the publishing world works.
It is a very busy week of writing and literature.
While all the above is exciting, we also realize that the most important progress in writing is artistic progress. We aim to provide insight into the craft of writing and help you hone your skills.
Over the last 26 years, the HSW workshop has been taught by some of the most talented national and international writers in the world. Our teachers have included Margaret Atwood, Mavis Gallant, Francine Prose, Martin Amis, Anne Beattie, Peter Carey, two-time Booker Prize winner; Tim O'Brien, National Book Award Winner in the USA; Alistair MacLeod, winner of the International IMPAC Dublin Literary Award; Edward Albee, legendary playwright and many others.
Prominence is not the only quality we look for in our instructors. All of our faculty have considerable knowledge about the craft of writing and will help you to improve your work.
Please check the "Faculty" tab for the list of instructors for the current session.
In the long run, we want you to succeed and will do the best we can to help you achieve your goals. If you are published in book form, we will add the cover of your work to our "wall of fame" and may ask you to read or speak for us. Some of our faculty are former students.
In the short run, your teacher and your classmates will look carefully at 15 pages of your work as well as the work of your colleagues. Your teacher will advise you on the best strategies to improve your writing.
You spend five mornings in class with a small group of students. In that time, each of you reads and comments on the work of the others under the guidance of your writing instructor. You will also have a short private meeting with your instructor. Each instructor addresses the entire student group at least once, so you will hear from every teacher on our roster this season. Former students who have published in previous years tell how they went from aspiring to published. Top professionals in editing and agenting say what they are looking for and how to achieve success.
We do a “Flash Assessment”, an optional activity in which publishers and editors react to the first page of your work.
The large group first gets together on Sunday afternoon to socialize and meet the faculty. The workshop ends with a farewell reception on Friday afternoon.
The workshop is both intense and inspiring; participants can expect to be exhausted and exhilarated by the end of the workshop.
You may also find that your colleagues become a useful support group. Some years ago, four alumni formed a writing circle and vowed to stay together until all had been published. The last they were heard from, three had.
Each student will receive a certificate of participation at the end of the workshop.
Student work for consideration is limited to 15 pages, which must be prepared according to professional standards: double-spaced and with name, title, and page number on each page.
If you are accepted, the fifteen pages will be forwarded to your teacher. Please do not make any changes to the manuscript between the time you submit it to us and the time you arrive. You will also receive electronic copies of the writing samples of all class members before the workshop begins.
The insights provided on the pages you submit are intended to help you through the rest of your work.
Those who have a book-length manuscript might consider taking the Correspondence Program in Creative Writing in order to go over a larger body of work with a writing mentor.
In the summer workshop we have had true beginners as well as those who have published books. However, we do not always have suitable teachers for certain types of work. We are especially good at literary fiction, contemporary poetry, and creative non-fiction. Other types of work that have proved problematic in the past might be academic work or writing that consists of intense emotionscapes, often having to do with abuse or revenge.
The range of applicants changes with every session. We try to keep most groups the same, but you may be a prose writer with an occasional poet or memoirist in the class.
The workshop takes place at Humber's beautiful Lakeshore Campus.
There are a number of options along Lakeshore Boulevard and the Humber cafeteria is open on weekdays.
For those who apply by June 2, the 2017 fee is $849, plus HST. The cost of the workshop for those applying after June 2 is $919, plus HST. Included in your fee are lectures, in-class time, and welcome and farewell receptions (cash bar).
Rooms are available in Humber's residence. For accommodations, rates, and other relevant information, please visit Humber's Conference Services website.
Daytime events are for workshop participants only, but a spouse or a friend may choose to attend optional evening events.
When you apply, you list your top three choices of instructor in order of preference. The placement committee tries to give you the instructor you choose, but reserves the right to make the best match possible. The placement committee takes into consideration availability, class size, writing style, and other concerns. You will be informed of instructor placement before arrival.
Scholarships are awarded on a combination of writing ability, as demonstrated in the writing sample, and need. Many more students apply than funds can cover. Students must declare their request for a scholarship in their cover letter and the form, and supply documentation of financial need. Documentation might include a photocopy of the last page of last year's tax return, a copy of receipt of social assistance, a copy showing student debt, or some equivalent. The scholarship amount, if awarded, will be paid by cheque after the workshop. No late applicants will be considered for scholarships, as these are awarded shortly after deadline.
Most general scholarships are open to all applicants. However, a certain number of specific scholarships apply only to particular groups (see below). If you would like to apply for one of these, you should name it in your cover letter, using a sentence such as this: "Please consider me for all general scholarships, and the X scholarship, for which I qualify."
*The KOBZAR, Wayson Choy, and Jean-Marc Iammatteo scholarships are aimed at the following specific groups:
Everything we send to you in the registration package, which should include map and agenda, etc. Participants must walk between buildings, so an umbrella is useful. A laptop is convenient, but not required: pens and paper are. The days can be long, so dress casually and comfortably.
Classrooms are limited to twelve students, though they frequently contain seven or eight. Lectures and panels usually have seating for 40-60 people.
Weekday classes begin at 9:30 am. Most days should end by 5:00 pm, excluding optional late afternoon and evening events. If you have the energy, you can probably go out every single evening. The Friday closing reception should be over by 4:00 pm.
Some students choose to stay in the school residence because the days can be very long, especially if you take part in many evening events. This can be a good strategy, but nobody should feel obligated to stay in res. Typically, about a third of our students do.
Etobicoke sits on the shores of Lake Ontario. The area around Humber's Lakeshore Campus is largely residential, with some fast food options along Lakeshore Boulevard West.
Everything takes place at Humber's Lakeshore Campus. The various buildings are - at most - a few hundred metres apart.
Most places are wheelchair accessible. Some classrooms are not. Please let us know if you have mobility issues.
The more familiar you are with your instructor's work, the better. Books by speakers and instructors will be available for sale in the bookstore.