Iceland Writers Retreat Alumni Awards Open September 1st

Iceland Writers Retreat Alumni Awards Open September 1st

Thanks to generosity of our alumni and friends, we will be offering Iceland Writers Retreat Alumni Awards for the 2019 event — three full and two partial scholarships. Full funding covers all participation of a “complete package” in the Iceland Writers Retreat, as detailed on our website (including accommodation). The scholarship also includes round-trip flights to Iceland. Partial funding covers the participant fee for the Standard Package only, and neither accommodation nor round trip flights.

The recipients will be chosen based primarily on two factors: a) The potential they demonstrate (or has demonstrated) as a writer and b) Their need for financial support to be able to attend. We will also evaluate based on the other questions in the application, though, so make sure to tell us about yourself and why you think you’d be the perfect match for the Iceland Writers Retreat. (Please don’t just tell us how you have always wanted to visit Iceland.)

We will begin accepting applications and linking to the form to apply from 1 September. Full details on how to apply will be posted at that time. It will be free to submit an application, but follow the instructions carefully, as incomplete submissions will not be considered.

We are so pleased to be offering the IWR Alumni Award for the fourth time. We are extremely grateful for the generosity of our alumni and friends.

 

Almost Poetic Romance: IWR Alumni Winner Puja Changoiwala’s Story

Almost Poetic Romance: IWR Alumni Winner Puja Changoiwala’s Story

Life, if you’re extremely fortunate, blesses you with a few defining experiences — journeys that clear the fog over your ultimate destination, that bring you closer to yourself, and simply, ones that take your breath away. The Iceland Writers Retreat was one such experience for me.

Back in December last year, when I learnt I was one of the recipients of the IWR Alumni Award, my first reaction was disbelief, followed by insurmountable gratitude. I couldn’t wait to get to Iceland, and experience this gorgeous little Nordic nation in the middle of the North Atlantic, its rich literature, and her keepers. I was looking forward to my interactions with the IWR faculty, and learn from them in those mindfully-designed, eclectic set of workshops. But the experience I had during those five days went beyond these tangible flashes of pleasure.

The most unique part about IWR for me was the brilliant combination of writing workshops and cultural tours. At first, I assumed that the cultural tours were meant only to help us view the many prolific natural wonders that Iceland is famous for. But as we went about the tours, which had a strong literary bent enabled via readings from local Icelandic authors, I realised the relevance of that natural beauty to Icelandic writers, and why exactly IWR had decided to make the tours part of the writers’ retreat.

Gljúfrasteinn

Gljúfrasteinn

For example, at Nobel laureate Halldor Laxness’ home, Gljúfrasteinn, the care-taker, Margret Marteinsdottir told us how the country’s natural beauty was a source of creative inspiration for the brilliant twentieth-century writer. “He would walk for five hours every day in the woods around his home, and would return inspired,” she said. The man penned 62 works of writing over seven decades — novels, poetry, plays, short stories, essays and memoirs, which were translated into 43 languages.

With such interactions, it was during these cultural tours that we got closer to Iceland’s raw beauty, agreed with Laxness’ view of it, and to some extent, started hoping for the literary inspiration the vistas had left him with.

Icelandic countryside

Icelandic countryside

It’s almost poetic romance, the idea of a writers’ retreat in the land of ice and fire. The Scandinavian nation, I noticed, was gorgeous in its own unconventional right. Home to just 340,000 people, its landscapes are untouched, dotted with striking contrasts – stretches of yellow grass juxtaposed with black igneous rocks from centuries of lava depositions, golden basalt caves in the backdrop of black sand beaches with boulders of ice adorning their shores, and thundering waterfalls next to silent, stagnant seas of snow.

With 110 participants from 17 countries, I met writers from all over the world at IWR — those who had written multiple books, and those who were struggling to bring themselves to write, those who walk around with fantasy worlds within them, and those who wish to capture the difficult reality around them. And with each encounter, I felt inspired.

Puja Changoiwala with other IWR Alumni Award recipients, Michael Augugom and Fatin Abbas

Puja Changoiwala with other IWR Alumni Award recipients, Michael Augugom and Fatin Abbas

Being in that space with fellow writers, I realised that we were similar in the fact that we were all at the retreat to be better wordsmiths, but the similarities also extended to our determination when it came to the art of writing, our vulnerability in terms of its craft, and our passion to tell the stories we hold dear. IWR created a community of like-minded people for me, a community with a strong sense of belonging — something, which is matchless and invaluable.

The most important highlight of the retreat, the writing workshops, were conducted by some of the most brilliant writers in the world, including Pamela Paul, author and editor of The New York Times Book Review, Susan Shreve, award-winning author of fourteen novels, and Craig Davidson, whose literary fiction, Rust and Bone was made into an Oscar-nominated feature film of the same name.

The workshops were eclectic and varied in their discourse, rooted deeply in the technical nuts and bolts of writing – creating captivating anti-heroes, sensory writing, plotting non-linear fiction, writing to inspire, writing humour, to become another person when writing, and learning how to outline your novel, among other subjects. There was a lot that I learnt during these workshops, which were mindfully organised as small-group classes, limited to fifteen participants. This ensured close interactions with the faculty, allowing an informal and constructive exchange of ideas.

While the workshops delved into the fundamentals of the craft of writing, a Q & A session with the faculty on the last day put focus on its practicalities, and how one can deal with its many challenges. The floor was open for the attendees, and we could ask whatever question we wanted. Although an informal interaction, I returned with several practical tips on becoming a better, more productive writer.

For example, writer Lauren Groff shared the importance of protecting one’s writing hours, and how she has “built very high walls,” and dedicates every morning until 3 pm to writing alone. Other faculty members shared how setting daily word-count targets help, how exercise should be part of a writers’ routine since writing is a physically-straining job, and how one should not wait for inspiration. “It isn’t coming,” said the writer, “So just quit the wait, and start writing now.”

Tour guides, both Icelandic authors, during a literary walking tour around Reykjavik

Tour guides, both Icelandic authors, during a literary walking tour around Reykjavik

Another highlight of IWR was the literary walking tour around Reykjavik. “There are more statues of artists in Reykjavik than politicians,” said the tour guide, also a local author, as she walked us around the UNESCO City of Literature, and introduced us to the many literary sites in Reykjavik. We witnessed similar veneration for literature when we interacted with Iceland’s president, Gudni Johanneson during an IWR reception at his official residence, and when we met Lif Magneudottir, president of the Reykjavik City Council during a reception hosted by the City of Reykjavik at City Hall. We all could feel the love Icelanders hold for literature, and although I didn’t realise it then, it was contagious.

Through each of the encounters and experience at IWR, I could feel my passion for writing soar, and I returned home a much more equipped and passionate writer. In the two months since, I’ve not only come up with an idea for my second non-fiction book, but have also signed with a leading Indian publisher for it. That’s what IWR has left me with — a priceless, intangible experience, which is now quietly guiding the course of my life, directing me closer to my dreams.

Puja Changoiwala was a recipient of the Iceland Writers Retreat Alumni Award in 2018. She has also written extensively about Icelandic publishing and her time at the Retreat.

Rust Soil and Literary Souls in Iceland: IWR Alumni Award Winner Fatin Abbas’ Story

Rust Soil and Literary Souls in Iceland: IWR Alumni Award Winner Fatin Abbas’ Story

What you take from Iceland: soil the color of rust. Grey sky-hue of Hallgrimskirkja. Mountains shawling fog around their shoulders. Mustard yellows of cottages in Reykjavík. Spurt of geysers hissing up into an April afternoon. Arctic winds jostling you off your feet.

Geysir

Geysir

To experience such a landscape, to amble in it, to breathe its glacial air, to have it whistle its mysteries into your ear, is something that a writer can only dream of. It enlarges the imagination. Time warps in the strange spring light. ‘The end is in the beginning and lies far ahead,’ the narrator of Invisible Man says, and here you are reminded of those words. You feel as though you are at the end of time and at its beginning all at once.

As spectacular as it is, that scenery is simply a backdrop for the books. There’s the pleasure of listening to a rowdy 80 year old tell the story of her life in Hallgrímur Helgason’s Woman at a 1,000 Degrees. Debates about wickedness in ‘The Wife of Bath’ and Lolita in a workshop with Lauren Groff. Dissections of the twists and turns of narration in The Polyglot Lovers with Lina Wolff.

You leave brimming with inspiration from these conversations. Thinking about how to apply lessons to the novel you’re finishing, set in a landscape very different from the one you wander through in Iceland. A landscape on the equator, of desert dunes and swamplands and spotted cattle and temperatures that feel like a 1,000 degrees indeed.

You meet strangers who become friends. A Nigerian author who paints a gorgeous scene of a boy sitting atop an old fridge on a beach in Lagos. An Indian writer who presses little gifts from Mumbai into your hands. An American author who opens her door to you and conjures up for you the bustling alleyways of Barcelona.

Halldór Laxness’ view

And you laugh. At one reading the former mayor of Reykjavík evokes his childhood disorientation at the many strangers he meets in the Icelandic countryside who turn out to be…relatives. You laugh so hard you are in tears at this mirror-image of your own confusion as a child stumbling amongst aunts, uncles, cousins and second cousins in Sudan.

Beyond the laughter, you are reminded that each word on a page is a step that bridges the gap between yourself and other selves. Your world and other worlds. It’s why you’ve always been drawn to books. And why you are ever so grateful that they’ve set you down in Iceland, crossed you from Khartoum to Reykjavík.

Fatin Abbas was a recipient of the Iceland Writers Retreat Alumni Award in 2018. We are currently fundraising to be able to offer this scholarship again for 2019. To contribute, click here.

IWR 2018 Participant Janine Vici’s Story

IWR 2018 Participant Janine Vici’s Story

What if I told you how brave, accomplished, and assertive I felt when I registered way back during the summer of 2017? It was taking place in one of my favorite places on this planet. And I was to learn so much.

Romantically I saw myself as looking out the window between finely crafted words, at the black and white diapo landscape. The blue ice cube glaciers at Jokulsarlon lagoon yonder on the horizon, glinting in the sun. Geysirs bubbling happily across the stark scenario and my writing flowing like its gorgeous and diverse waterfalls. I would be inspired by its plenty literary muses, immersed in a bubble with its silent icy mists and steaming thermal waters surrounding me. Totally concentrated with razor sharp focus. And my iPad.

And so, busy as a bee. I submerged my fantasies, illusions and expectations into the dark, healing waters of the Secret Lagoon of my subconscious. It was done. Back into my frazzled life as a CranioSacral therapist, wife, mother, grandmother, orchid collector by day, and reader and writer by night. Stealing blinks of time from my colored agenda:  Grandchildren circled in fluorescent MeTime pink, caring for my Orchids, Laundry and Groceries in HomeTime yellow, CST appointments in PatientsTime blue, and home managing in FinanceTime green.

So far, writing for me was a hobby. Pleasing, satisfying, therapeutic and cathartic. I had no WritingTime color circling any space on my book.  Nada, nothing in any page. I’ve always described myself as a reader. In spite of being half way into my project of a thirteen short story collection, & taken several fiction and nonfiction workshops. Writing still was a hobby for me.
Seriously? Writer? Me?

What if I told you how intimidated I was feeling as time approached and gnawing self doubt reared its ugly head?

Hvalfjörður

Hvalfjörður

While riding the short distance from Odinsgata to the Natura Hotel, I felt like a tweenie all dressed up, going to her first prom. Butterflies in my stomach? You gotta be kidding me.

Moths more like it.

What on earth possessed me to think I belonged in this exalted level of talent, creativity and expertise? Words like Fellowships, Awards, X many books published, daunted & haunted me.  What was I doing entering the  sacrosanctum lobby and registering in this Retreat for Writers? Why wasn’t I soaking in Sundhollin pool, or trekking Landmannalaugar? When I reached my room, after receiving my black ‘goody bag’ from the welcoming, smiling staff, I wondered if I shouldn’t be running across the tarmac I could see through my window, to the first plane out to Akureyri, Greenland, or the Faroes, instead.

Far, far away from making a fool of myself.

Ok, I confess I love Iceland, Icelanders, Icelandic lopapeysa sweaters, Icelandic smart and distant sense of humor, not to mention the Canelle Snudurs from Sandholt, Messinn’s Atlantic Char, Gæsabringa slices with Raspberry Vinagrette from The Deli,  Skyr, Lamb Grilled Koftas from Alibaba, Kjötsúpa from any petrol station, and my new obsession: Loki’s Rye Bread Ice Cream with Whipped Cream, drizzled with Rhubarb Caramelized Syrup — I bought a tiny bottle of it so I can smell & taste Iceland every time I open it back home in Florida. A whiff of its earthy, creamy, tart and sweet aromas magically making Íslands come back to life. Thankfully NO whiffs of fermented shark, thank you very much.

So, I was here, entering the Dinner and Readings. Sit with us close by the mic — as suggested by my new friends, repeat alums Rosie and Ian. ‘Live in the moment. Smile. Breathe deeply in and exhale slowly out’— As directed by myself. Worse case scenario, I would take notes, and try my best to keep silent with an intensely creative expression on my face throughout the workshops.

Loved hearing the stories read. Started melting into my surroundings. Restless night with weird dreams.

When I stepped into my first workshop, the one by the fantastic Lina Wolff about “Plotting and Writing Non – Linear Fiction”, and later her “Creating Antiheroes” and then both of Rory Maclean’s Travel Writing workshops, and finally Lauren Groff’s  brilliant one on “Gaps, Spaces and Silences” I had stopped feeling like an isolated molecule, an outsider, a dwarf comet passing by into the void.

I’ve never felt more at home. I belonged. I became part of the live, pulsing, creative body of this wondrous galaxy of writers. By the time I exited the Q&A Panel Final session, I had finally assumed my craft. It was my language, I was a writer.  I was hearing a reflection of my own intuition. It resonated with what I felt should be, from the gut. I had gained confidence.  I volunteered to read out loud my class exercises. I recognized myself as being part of this pack. I trusted my ability. I metabolized everything I learned. So…

What if I told you I came out of 2018 IWR enveloped in my newly minted creative self with the word WRITER engraved in my mind,  heart and soul?  Learning so many techniques was invaluable. Now, I not only know and own these tools. But most importantly, I own the acquired confidence and self acceptance that I AM a writer. With the multitude of colors of the landscapes of my travels, weaved by the myths and legends of my Venezuela and adopted Ireland and Iceland, I intend to circle lots of WritingTime in my book.

#AmWriter……………………………………. Janine Vici Campbell

IWR 2018 Participant Roberta Bajada’s Story

IWR 2018 Participant Roberta Bajada’s Story

Throughout the years I had been hoping for an opportunity to get away from my hectic lifestyle and just focus on myself and what I enjoy doing the most—writing. The unique picturesque scenery, the rich literary culture, the people—every nook and cranny of Iceland promised me just that, making the Iceland Writers Retreat an experience I can never forget. I embarked on this journey with an open mind and a blank notebook, seeking to fuel up my passion and harvest my skills. The Iceland Writers Retreat was, for me, chance to feel part of a family with like-minded goals and aspirations, exchange ideas and tips in small intimate groups and build precious friendships in the process. The workshops offered were tailored to focus on the different aspects of writing, ranging from plot construction to experimenting with different literary  genres. It was a pleasure for me to discuss, learn, and grow as a writer, thanks to the feedback provided by my designated tutors after a number of hands-on exercises. I was moreover thrilled with the activities programme, every single one intended as testimony to the nation’s love for the written word. Now I understand where it all comes from and would like to heartily thank Eliza, Erica, and all the organizers of the Iceland Writers Retreat for making this possible. I feel inspired, recharged and ready to take on new writing ventures, keeping Iceland both in my mind and heart.

 

An Interview with IWR Alumni Catherine Wayne

An Interview with IWR Alumni Catherine Wayne

We are profiling some faculty and alumni leading up to the 2018 Retreat. Catherine Wayne joined us in 2014 and 2016.

Catherine is the author of the Edda Melkorka children’s series:  Too Many Pets and So Many Rainbows as well as a number of specialized College text books. She lives with her husband in Merritt, British Columbia. For more information you can check out her website Global Grammas.

How did you find out about Iceland Writers Retreat originally?

My daughter, Robyn Phaedra Mitchell, has lived in Iceland for about fifteen years.  She and I had been talking about writing the Edda series (based on the adventures of my Icelandic granddaughter) and she told me about the IWR.  Going to the Retreat was an excuse to also visit Edda Melkorka.

Have you ever participated in a similar kind of retreat, either as faculty or as a participant? If yes, how did the experience benefit you and/or your writing?

I’ve been retired for a few years now but during my working life I both attended and led seminars on technical writing which is quite different from story writing.

What did you most look forward to about the Retreat?

Meeting with others who are as passionate about writing as I am to exchange ideas and experiences.

Did it match up to your expectations?

I think the Retreat exceeded my expectations.  Talking to people from all over the world who have things to share about how they see life was quite a treat and getting to meet with very successful writers in a number of genres was inspiring for me.

What was the biggest lesson you took from the retreat? Or perhaps a piece of advice, or writing exercise that had an impact on your writing?

Two things:

First, that there is no one “right” way to write.  Everyone I spoke or listened to has a different process.  The process I heard about that I could really relate to was Miriam Toews’ who said she thought about and suffered over her stories for ages and then just sat down and wrote them.  That describes my process perfectly.  I think about the story; do some research; lie awake at night figuring out the details; obsess about characters for a few weeks and then just sit down and slam out the first draft.  It’s nice to know I’m not alone in the process.

Second, was a writing exercise in one of the workshops that had everyone in the room contribute one word and then all the people in the room having to write a quick story using those words.  It was a great demonstration that language, even if it’s not language you choose yourself, can still tell the story you want to tell.

What and/or who do you find inspiring?

Catherine's book So Many RainbowsI am consistently amazed at the creativity of children and I guess that’s why I like to write for children.  I love listening to kids expound on their views of the world and how it works.

How has writing influenced your life?

Writing is my way of staying in touch.  I think so much is lost to the ether when your message is limited to 160 characters.  I still write long letters to people and send them by post.  I get letters too from nieces or brothers or cousins which is something I really enjoy.  I think I get this from my Mom who was a great correspondent and taught me early that if you send letters to people, you get to look forward to getting mail.  I think of my stories as a way of corresponding with future generations.

What do you find to be your biggest challenge in your writing life?

Discipline.  I could spend forever thinking about my stories and figuring out each and every small detail.  I have to make myself sit down and actually write.  Once I start, I am good for a few hours at least, but it’s getting that first word on the page that I have trouble with.

What are you working on currently and/or is there anything exciting that has happened in your writing life since the retreat?

I currently have a couple of projects on the go:

  • I have been doing genealogical research about my Mom’s side of the family with the idea that I will tell a fictionalized version of that story.
  • The next in the Edda series is in process. This one may end up being a cookbook.  Not sure yet.  We are still in the thinking, researching, and suffering stage.

Any final comments you’d like to share with our followers?

I will be forever grateful to the “Viking” who took my daughter to Iceland.  If not for him, I would never have discovered this astounding little part of the world.  If I was able, I would attend IWR every year because there is so much to learn and so many people to learn it from.  IWR is a fabulous opportunity to meet and talk with storytellers from all over the world.

An Interview with IWR Alumni Megan Herbert

An Interview with IWR Alumni Megan Herbert

We are profiling some faculty and alumni leading up to the 2018 Retreat. Megan Herbert joined us in 2014 and 2017 as a participant, and in 2017 as a participant and off-venue faculty member.

Megan worked for almost two decades as a storyliner, script writer, script editor, story producer, and development writer for television shows including long-running Australian drama Neighbours, and BBC dramas EastEnders and Holby City. While living in Iceland, she was Head of Development for Pegasus Pictures. Also a visual artist, she writes and illustrates children’s picture books (and many other things). She now lives in Amsterdam with her husband and son. Her new children’s book, The Tantrum That Saved The World, is available at https://www.worldsavingbooks.com/ .

How did you find out about Iceland Writers Retreat originally?

I was living in Iceland the first year the event took place. I think I saw a Facebook post about it. I signed up almost immediately.

Have you ever participated in a similar kind of retreat, either as faculty or as a participant? If yes, how did the experience benefit you and/or your writing? 

I’m an illustrator as well and I’d attended several art retreats before. They were always hugely beneficial, giving me time to think and plan and gain new insight into my work. The IWR was my first writer’s retreat though. Perhaps because I’d worked as a writer since graduating university, I hadn’t found the need to attend something like that until when, in 2014, living in Iceland, I found myself suddenly writing a lot more for myself than for TV shows. And needing inspiration and guidance and community. The timing was perfect. I skipped 2015’s event when I was back in Australia, but returned in 2016, hungry for more. In 2017 I returned again, this time as both student and an off-venue faculty member, which had a nice full-circle feeling to it. 

What did you most look forward to about the Retreat?

The first year I attended, I was balancing writing with new motherhood and freelance work, and the chance to put all that aside for a few days and to really immerse myself in what I was writing, as well as others’ ideas on the craft of writing, was a real luxury. It was fantastic discovering ‘new’ authors too, many of whom are now my among my favourites; Eliza and Erica are excellent curators of literary talent.

I’ve also made it my habit, every time I’ve attended, to live draw the event and share the results with the other attendees (you can see some of my previous efforts at http://megan-herbert.tumblr.com/ and https://www.instagram.com/meganjherbert/ ). Trying to capture both the likeness of a faculty member while also distilling what they’re teaching into a pithy caption is perhaps the best mental exercise I know. It’s a challenge I relish.

 What was the biggest lesson you took from the retreat? Or perhaps a piece of advice, or writing exercise that had an impact on your writing?

 Having attended three IWRs, I am lucky to have been able to glean all sorts of invaluable information from faculty members. Some of the rarest gems snuck up on me when I least expected it, like tips on writing engaging creative non-fiction from Andrew Westoll (when I was convinced I was writing a memoir). I have in my arsenal writing exercises from Iain Reid, Vincent Lam and Elina Hirvonen that I still use to this day. And tucked away in my notebooks are nuggets of pure gold on the topic of effective research (and turning that into sparkling prose) from Geraldine Brooks and Susan Orlean. I won’t describe them here because what worked for me won’t necessarily work for anyone else. That’s what’s great about the IWR; everyone walks away with their own treasures.

  What do you find to be your biggest challenge in your writing life?

 The biggest challenge for me is finding enough time to see through to completion all the ideas that come to me. Being a cross-disciplinary writer and illustrator (my work ranges from TV and film scripts, to kids’ books, to product design, to journalism, graphic novels, and everything in between), it’s difficult to stay focused in one area long enough to see through things through. I’m getting better at it though, one idea at a time!

 What are you working on currently and/or is there anything exciting that has happened in your writing life since the retreat?

 I’ve just published my latest kids’ book called The Tantrum That Save The World – a picture book explaining climate change to kids in language they can understand and empowering them to do something about it. It’s part story book, part science book, and part call to action, and was a collaboration with climate scientist Michael E. Mann. I first started work on this book around the time of the first IWR, so that gives you some idea how long these projects can take to get over the finish line. I’ve been thrilled by the response to it so far; hearing from complete strangers how much their children are captivated by your story is perhaps one of the most gratifying experiences a writer can have. (It’s available for purchase now at worldsavingbooks.com J )

How was the process of crowd funding for the book? Is it something you would consider doing again in the future?

 The best thing about crowdfunding a book (or any creative project) is that it provides you with deadlines. Deadlines that, in my case, almost killed me… but they also resulted in a finished book, printed and distributed ahead of schedule. For anyone considering crowdfunding, I advise to do your research (there’s a ton of great information out there from crowdfunding veterans), and to start planning and building your campaign early (i.e. a minimum of 6 months before you launch). And have a finished product before you launch because the running of the campaign itself is equivalent to about 3 full time jobs. I’m still at the tail end of this campaign, having just delivered to my backers), so it’s too soon to say if I’d consider doing it again. It’s certainly not for the faint of heart, but it does get results!

 Any final comments you’d like to share with our followers?

the view from megan's summer home

The view from Megan’s summer house in Hvalfjörður, where she disappears to for several months each year.

 I was lucky enough to have lived in Iceland for 8 years, during which time I was able to experience the miraculous, confounding, terrifyingly beautiful Icelandic nature daily. I also learned the Icelandic art of staring out a window at a mountain for long stretches, and just thinking, and sometimes not thinking, percolating, meditating on nothing, without feeling guilt or that I was wasting time. Staring at mountains is NEVER a waste of time. But living in urban settings for too long makes us feel like it is. As a local participant, I had already experienced this aspect of the IWR and was able to apply it to my work. If you don’t live in Iceland, you really do owe it to yourself to come not just for the writing and the faculty, but to stare long and hard at a mountain. You won’t regret it.

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