Episode #332: Writing Retreat Roundup
Featuring Connie Hale and Ellen Sussman
Hello working vacationers, Airbnb’rs, book immersionists, and book focusers!
Are you considering doing a writers’ retreat this year? Whether you want to create your own, find something far-flung and exotic, or consider the writing retreat’s bigger cousin, the writers’ conference, this episode gives insights, definitions, and parameters for retreating. Guests Ellen Sussman and Connie Hale are both writing retreat leaders who share about their own programs and so much more. There are a lot of resources in this episode, so we’re offering these URLs for you to explore more:
On Substackin’ this week, we salute our friend and colleague, Dan Blank, for the great and encouraging work he’s doing at The Creative Shift, and point you to his Substack.
A short list of writing retreats and residencies:
Partial transcript from the show
Grant: I’m Grant Faulkner and I’m with my co-host Brooke Warner, and, Brooke, the reason I’m using all of these weird monikers to greet our guests is that since it’s the new year and people are planning their writing goals for the year, we’re doing a special episode on writing retreats today. The why, the how, the where. We’re going to talk about the writing retreats you apply for, the ones you create for yourself, and the ones you plan with your writing buddies—to start a new project, to get through a muddy middle, to finish, to just write with friends, to meet new writer friends, anything. So my first question is to you, Brooke: Have you ever gone on a writing retreat, and if so, was it one you designed yourself, or did you apply?
Brooke: The only real writing retreat I’ve done was at Hedgebrook, which is actually a really exclusive writers’ retreat, but I didn’t apply. I got to go under unusual circumstances because I knew the former executive director, and so she set up a weekend for women entrepreneurs and publishing and publishing adjacent people—for us to come up and spend I think it was five nights. And so we were writing, but we were also business planning and scheming and creating. It was totally incredible, such a gift. Hedgebrook has this whole concept around radical hospitality, and so they cooked for us and we got to stay in these amazing little cabins. So I’ve had that in residence experience without having really done it as a writer. How about you, Grant?Â
Grant: My experience several years ago as a writer-in-residence in Aspen is the only one I’ve gone to as a writer, not as faculty, or not as a retreat I created with others. It was through Aspen Words, which is part of Aspen Institute, and I was given a beautiful place to write. I got to read by a pond in the morning, take beautiful hikes and bike rides, and I got to write all day—for an entire month—except for leading a couple of workshops for Aspen Words. And then I was a writer in resident at Chautauqua Literary Arts for a week last summer, but it was less of a pure retreat situation because I was also teaching a class and gave a reading or two. I actually just applied for a couple of retreats or residencies this year—ones where I’m a little more coddled, with room and board and a stipend, but I didn’t get those. On that note, I want to mention resources for finding out about retreats and residencies: the Artist Communities Alliance Network puts out a newsletter that lists residencies around the world. It’s great, but the challenge is that you’re at the mercy of other forces—which means you have to apply, and you usually have to pay an application fee, and then the retreat might not happen for six months—which is why I think if you can create your own retreat, you should go for it. Getting residencies is good for your resume, and it can be good to meet other writers, but sometimes creating your own retreat is the best way to get writing done. Brooke, have you ever created your own retreat?
Brooke: Yes, actually. I did a weekend-long writing retreat when I was finishing Write On, Sisters! I basically used an oceanfront house that was a friend of my mom’s place, that she wasn’t using one weekend because she was away, traveling. I set up a binge-writing weekend to knock out a section of my book. It was a really interesting and good experience for me because I was self-isolated, in a beautiful place, and explicitly where I was to get writing done. I found it to be incredibly effective and I know I will do that again—someday on some future writing project. Have you, Grant, and what are some of the parameters you think are critical to the success of a self-planned retreat?Â
Grant:Â I have a little template for what would be considered a long-weekend retreat:
My own retreat:
Not too far from my home because I don’t want to waste travel time
Can’t be a place that makes we want to be a tourist
Preferably I can walk into town for a cafe, restaurant, or entertainment.
I found this all in Petaluma, which is about an hour away from me, and there’s this kooky little french hotel that I’m in love with. I’ve gone up there three or four times to finish revisions and it totally works. But that said, that was a retreat by myself and I did a lot of intense work. And then for the first time ever, I did a group writing retreat last year with friends. We spent a week in a house in Chautauqua in the off season, so we had this whole resort to ourselves. On the upside, every day was fun and I enjoyed the companionship. On the downside, sometimes there was too much of the social for me because I’d flown across country, and I wanted to get some bang for my buck in writing time. Is there anything you don’t like about retreats?
Brooke: You know, my mom ran a retreat center for thirty years, and so while I haven’t done a lot of writing retreats, I’ve done a ton of retreats over the years. A lot of them more spiritual in nature. I’ve gone to Esalen and to Spirit Rock, places like that. You can even do a retreat in a single day. Honestly, there’s not a lot I don’t like about retreats. My single complaint is probably those retreats that restrict you around certain things. I’m totally fine with a zero alcohol policy, but some of these places don’t have coffee, which for me is just a bridge too far. I remember I did a retreat at Mount Madonna in Watsonville, which is near Santa Cruz, and if I’m recalling it correctly it was three nights—and there was no coffee. So literally every morning I got into my car and drove into town and got my to-go cup and brought it back. I’m really okay with my coffee addiction. So I don’t love that. Sometimes I guess it’s a hazard of retreats that there are going to be people you don’t click with, and you’re sort of stuck together for a period of time. But I think that’s offset by the number of people you will click with, and I’ve made some dear friends through retreat experiences. Including Mark Nepo, who was actually a retreat leader at my mom’s place, which is how we first met. You Grant, what are your complaints?Â
Grant:  When I was in Aspen for thirty days, the thing that was tough for me was being alone all day—and I hadn’t anticipated that. I think that model that you mentioned at Hedgebrook is really great, where you write all day and then you gather in the evenings for dinner. And that would be perfect for me. The other thing that was tough was the feeling that I needed to maximize productivity—because this was a big opportunity for me. So I tried to write a couple thousand words a day. It’s actually a challenge to give yourself a break so that you’re not writing all day. I felt like it took me a month to learn how to do the retreat, and then the retreat was done. Brooke, are there any retreats you recommend based on being faculty?
Brooke: I haven’t been on faculty at a whole lot of retreats, honestly. I do a lot of writers’ conferences, and I see them differently, which is largely around the style—and how intimate they are. Usually a writing retreat is in a secluded place, and there are a lot of group activities, and part of the goal is bonding the participants. I do a lot of conferences, by contrast, which I see as bigger, usually held in big venues, and the goal is not so much to connect with others, though certainly you can. They’re more like learning environments. Sometimes conferences have the flavor of a retreat. I would argue this is true for the Kauai Writers Conference, and maybe that’s because of where it is, and because the week of the conference pretty much everyone who’s at the hotel is there for the conference. Typically writing retreats are led by a single person or small group of faculty as opposed to these giant ballroom style events where you’re just packed in a room listening to panels or keynotes. And the faculty can be enormous. I’ve done it all, but I’ve done more conferences than retreats. But for two years in row I was on faculty at a retreat called Her Spirit, which was in Santa Fe and was wonderful—and prepandemic She Writes Press did writing retreats for our authors. I like the intimacy of a retreat, personally, and I think some retreats it’s expected that the faculty is there with you—doing meals, more accessible. Our guests today really do lead writing retreats. I’ve been to Ellen Sussman’s Sonoma retreat, and I think you have, too, and you’re going to Oahu and to Kauai in 2025, Grant? Rough life.Â
Grant: Yeah, I’ll remind people that I do work at these places, but yes, I’m super excited. I have only been to Hawaii once so to go twice in one year in any capacity is amazing. And like you said, as faculty, I have benefitted from everything that Ellen and Connie are going to talk about with their retreats. I have presented at Ellen Sussman’s Sonoma retreat, and I’m teaching at Connie Hale’s retreat in O’ahu this April, but I’ll let each of them tell more about those retreats. And, yes, I’m also going to Kauai. Another retreat that really fits in the same genre as theirs is Lit Camp, which is led by Janice Cook Newman here in the Bay Area. It’s a 4-5 day retreat in a great location with wonderful food and amazing faculty. And then I’ll mention Wayfaring Writers in Oaxaca with Cami Ostman, who was on the show. And Brooke, I know we wanted to give a shoutout about a conference we’ll both be at in July in Park City before we get to today’s interview with Ellen and Connnie.Â
Brooke: Yes, that’s right. Understory is a new writers’ conference in Park City, Utah, founded by our friend and colleague Annie Tucker, who's a ghostwriter and editor. The conference is this summer from July 24–27. What makes it unique is that it's smaller than the average writers’ conference—only 100 people—which means participants make more authentic connections and get focused instructor attention. Which fits my definition of a retreat! So there you go. I also love that Understory aims to be very craft based, so most of the workshops are designed to help you develop your skills in all the different areas of storytelling, no matter what stage of the writing process you’re in. And because Park City is so beautiful in the summer, you'll get to spend plenty of time doing outdoor activities like guided hiking and meditation to spark your creativity. You can buy tickets on the Understory website at www.understoryparkcity.com. If you email info@understoryparkcity.com and mention Write-minded, you'll receive $100 off the all-inclusive price. So we’d love to see you there. Would be fun to see some of our listeners in the real world. And there are lots of opportunities to connect, and we’ll hear more about retreats, why to retreat, and what’s the fuss is all about when we return with two spectcaular retreat leaders, Ellen Sussman and Connie Hale.Â
This week’s Substackin’:
In this week’s Substackin’, I wanted to feature one of our writing friends—and a former guest on #WriteMindedPodcast, Dan Blank. Dan helps writers with their marketing—and really just helps them feel comfortable putting their voices and their work into the world. I really admire his very human and personal approach to marketing, and he has a very thoughtful and helpful Substack newsletter, so I recommend it.
Check out Dan’s Substack, The Creative Shift, linked here!
ABOUT CONNIE HALE & ELLEN SUSSMAN
Ellen Sussman is the author of four national bestselling novels and the co-founder and co-director, with Elizabeth Stark, of Sonoma County Writers Camp. Ellen has also been awarded fellowships from The Sewanee Writers Conference, Hedgebrook, and Ragdale. Connie Hale has written six books, including Wired Style, and Sin and Syntax. She studied English Literature at Princeton University, then earned a masters in Journalism at UC Berkeley. She grew up in Hawaii, which explains why she leads the O’ahu Writing Retreat, and she dances the hula, of course.
Ragdale retreats and residencies too! On a prairie, near the lake, 45 min north of Chicago. https://www.ragdale.org