the 6th annual

Taos Writers Conference

will be held LIVE and on-line via Zoom on Friday, July 29 to Sunday, July 31, 2022

All registration closes on Thursday, 7/28/22, at 5pm



Early Bird Discount until 6/15/22
$449 all three days, including faculty readings, keynote and lunch roundtable discussions
$299 for 3 weekend workshops plus the faculty readings, keynote and lunch roundtable discussions
$175 Friday Intensive only plus the faculty readings, keynote and lunch roundtable discussions


Beginning 6/16/22
$499 all three days
$325 for 3 weekend workshops
$199 for Friday Intensive
Keynote reading by Ana Castillo only: $15
FRIDAY - July 29, 2022

10:00 – 4:00 One-Day Online Intensives

Connie Josefs – Mapping Memoir (online only)
Veronica Golos – Walking the Wild; Writing the Wild  (live)
Sawnie Morris – The Sequence Poem (online only)
Bob Arellano – Setting in Motion: Generative Writing with D.H. Lawrence (live)
Leeanna Torres – Finding Querencias: An intensive/generative writing workshop (live)

5:30-6:30 – drop-in Meet & Greet reception & Book sales – all attendees and faculty welcome! (live)


Keynote by Ana Castillo (live at the Harwood Museum, 238 Ledoux Street, Taos)

SATURDAY - July 30, 2022


Melanie Sumner – Build a Short Story (live)
David Meischen – Intersections in Poetry: The Landscape of Story, The Story in Landscape (online only)
Don Cellini – Translating Poetry (online only)
Beth Piatote – The Art of the Unsaid (live)
Mary Oishi – The Zen of Poetry (online only)

12-2 Author Book sales


Lunch (on your own), book sales, and roundtable brown bag lunch discussions

12:15-1  Michael Blevins: Tips for Self-Publishing (live)
1:15-2  Adrienne Pond:  Partnering with an Editor (online only)


Stephanie Han – Master Narrative – a Deep Dive (online only)
E J Levy – It’s You! Writing in Second-Person (live)
Elizabeth Jacobson – Intimate Immersion: Create and Critique (live)
Amy Beeder – The Ordinary & Extraordinary: A Poetry Workshop (live)
Sawnie Morris – Poetry & Punctuation (online only)


Faculty Readings Book signings/sales (live)

SUNDAY - July 31, 2022


Linda Michel-Cassidy – The Sum of the Parts: Short Lyrical Prose (online only)
T.J. English – The World of Nonfiction Writing (live)
Jesse Maloney – Patient Patiently: Using lived details in narrative (online only)
Sean Murphy – The Writer’s Voice (live)
Juan Morales – Hunger and Ritual: Writing poetry on Food 

INTENSIVES ($175 Early Bird/ $199 Late Registration)

Choose one from the following five, all-day Intensive classes.
Each class runs from 10:00 – 11:30 and 1:00 – 4:00 on Friday only.

Weekend Workshops AND Friday Intensive: $449/$499 

Day 1

July 29, 2022

10:00 – 4:00

Connie Josefs

Mapping Memoir (online only)

“The writer is an explorer. Every step is an advance into new land.” —Ralph Waldo Emerson

There’s something intriguing about opening a book and finding a geographical or geneological map. To look at a map is to say, “Tell me a story.” Mapmakers and writers consider many of the same questions: From which point of view should I render this world? What are its borders? What details should I include? How closely does this reflect reality?

In this workshop we will explore the terrain of memoir from a birds-eye view by creating maps of a particular time, place or family constellation. Where does our story begin? What twists and turns does it take? How is it contained? We will use these maps to generate new writing and/or revise existing work.


Workshop format includes writing exercises, discussion and supportive feedback. Advance reading and additional preparation will be assigned prior to meeting.

Veronica Golos

Walking the Wild; Writing the Wild  (live)

This is a generative workshops, where we will drive (about 30 minutes) to Wild Rivers, bringing writing materials and lunch, and do a short hike, to view the meeting of the rio Grande and Red rivers, looking down on ancient cliffs, surrounded by forest and fields and plains. We will sit at outdoor tables, eat, and have a writing period; participants will have a packet, with example poems and suggestions for writing.  Then, we will move to a stone outdoor amphitheater, where writers will read their work to the audience, the trees, the wide sky, and the sounds of birds.

Sawnie Morris

The Sequence Poem (online only)

A sequence poem is akin to an archipelago. Each sequence within the poem is an island, though as Muriel Rukeyser pointed out, “like us, they are connected underneath.” Where a narrative poem moves causally through time ––  like a boat across the water –– and a lyric poem expresses a particular moment in time –– like the splash of a swimmer diving in ––  a sequence poem expresses multiple dimensions or emotional intensities in time by way of connection, association, and juxtaposition. We will read together and learn from examples of historical and contemporary sequence poems, then respond by beginning the creative process of writing our own. Prompts will be provided to be used (or not) and time will be made for sharing of results and for individual feedback from the instructor. Please bring pen, paper, and laptop if you have one.


Bob Arellano

Setting in Motion: Generative Writing with D.H. Lawrence (live)

Through his novels, stories, and poems, David Herbert Lawrence left behind breadcrumbs for other writers to follow and find secrets of his style. Connecting focused readings of timeless literature with timely writing prompts, workshop participants will travel across three countries and immerse ourselves in three literary settings through Lawrence’s words, undertaking an examination of the clues he left behind. We will alternate textual teleportation with three generative-writing sessions inspired by Lawrence’s examples, and we will finish the day with a round-robin workshop to share our discoveries and offer constructive suggestions expanding on the magic of transforming setting into motion. This workshop is great for writers of all levels and all genres, as well as for teachers of writing and the arts to take strategies back to their own classrooms.

Watch an interview with Bob Arellano on his workshop, Setting in Motion: Generative Writing with D.H. Lawrence.

Leeanna Torres

Finding Querencias: An intensive/generative writing workshop (live)

The word “Querencia” is a popular term in the Spanish-speaking world that is used to express a deeply rooted love of place and people. And while a Spanish-word, the IDEA of Querencia is truly universal, and it’s translation via expression, endless and ever-widening.

Querencia – the place of your deepest identity, your deepest longing; a place in which we know exactly who we are; the place from which we speak our deepest beliefs.

Writers such as  J. Drew Lanham might refer to this concept as “home-place”; similarly Robin Wall Kimmerer might call it “kinship”. And while New Mexican writers are familiar with “querencia” (that which gives a sense of place, that which anchors us to the land…a deeply rooted knowledge of place…” we will explore this theme in the broadest sense.

In this “generative” workshop we’ll utilize both open-ended and “mapping prompts”.

Thus at the conclusion of this workshop the writers will have a start(s) to what exploring querencia might mean to them. While this workshop is intended primarily for creative-non-fiction, memoir, essay type of work, the “idea” of querencia easily crosses all writing genres.

Querencia is not an elusive concept, rather, it exists, and it is unique to each person, in the details, in the memory, and in our lived experiences.

Watch an interview with Leeanna Torres on her workshop, Finding Querencias.


WORKSHOPS ($299 Early Bird/ $325 Late Registration)

Choose one workshop from each time slot for Day 2 and Day 3.

Weekend Workshops AND Friday Intensives: $449/$499

Day 2

July 30, 2022

9​:00 – 12:00

Melanie Sumner

Build a Short Story (live)

Do you want to write a short story but dread looking at that blank screen? In this workshop, you will be guided to create your story one piece at a time. As you complete exercises for character creation, setting, point-of-view, and plot, you will begin to see the emergence of your story. Some of the exercises require individual work while others encourage interaction with other participants in the workshop. You are encouraged to share your exercises with the group and to invite their feedback. When you have gathered all the parts of your story, you will choose one of several methods to outline it in a way that makes sense to you. At the end of the workshop, you will have enough material to write a first draft of your short story.

David Meischen

Intersections in Poetry: The Landscape of Story, The Story in Landscape (online only)

I’ve spent a lifetime immersed in place—reflecting on, finding words to evoke place. The farm where I grew up is bound by its legal borders; it has not and does not move. But it is not a static landscape. No landscape is. How, then, when we sit down to write, do we convey the dynamism of the places we invest with our attention? How, when we venture into narrative, can we reinvigorate the shapes of story, engaging readers in new and exciting ways? And what about urban landscapes? Streets, buildings, interiors—sometimes noisy, sometimes cluttered—Edward Hopper instead of Ansel Adams. How to invite these into our poems? Participants in this one-day intensive workshop will examine works by Hanif Abdurraqib, Laure-Anne Bosselaar, Natalie Diaz, Mary Oliver, Ocean Vuong, and others. Their poems will serve as springboards into our own. Participants will share and respond constructively to each other’s drafts.

Watch an interview with David Meischen on his workshop, Intersections in Poetry: The Landscape of Story, the Story in Landscape.


Don Cellini

Translating Poetry: Traduttore/Traditore – Translator/Traitor (online only)

In this workshop, participants will explore the nature of translation – everything from literal translation to creative translation – and generate a draft of a personal definition.  They will compare several versions of “The Red Wheelbarrow” to see how different translators approach the same poem with different results. Are some better than others?  Is one the best?  They will also compose a homophonic translation of a foreign language poem as a springboard to ideas for their own new work.  Finally, they will be guided through a poem and its translation followed by their own creation of an English translation of a foreign language poem given the original and a computer-generated translation.  Extensive examples provided.  Participants will be invited to share their results.

No knowledge of a second language is required for this workshop.

Watch an interview with Don Cellini on his workshop, Translating Poetry: Traduttore/Traditore – Translator/Traitor.

Mary Oishi

The Zen of Poetry  (online only)

We usually think of haiku when we think of Zen as it relates to poetry. But this is not a haiku workshop. In our time together, we will:  

  •  Distill a narrative scene to its emotional core, resulting in the fewest lines that capture the essence of the event.
  •  Bring the reader or listener into the “white space” between the lines, making their experience part of the poem, making them your co-poet, so to speak.
  •  Get out of linear, logical mind and magnify the moment, the experience.  
  •  While haiku is more nature-centric, in this workshop we pivot to shared human nature/experience/emotions.
  • After reading some examples, we each write and share one or more tanka, a Japanese form that predates haiku, as well as other shorter forms.

The goal of The Zen of Poetry workshop is for participants to leave feeling like they’ve been to a “calligraphy for poets” intensive, able to craft an artful poem from its simplest, most symbolic strokes.

Day 2

July 30, 2022

2:00 – 5:00

Faculty Readings Book signings/sales (live)

7PM – 9PM

Stephanie Han

Master Narrative – a Deep Dive (online only)

What is a Master Narrative? This generative creative process workshop explores the complexities and ideas of Master Narratives. What is the difference between an implicit and explicit Master Narrative? How do they govern our lives and thus determine our narrative voice? 

Writers will explore how and why Master Narratives are foundational to our framework of belief, community, and self. Participants will also examine their creative literary process in relation to Master Narratives. The creation of the world on the page, including the nuance of a character, and how we construct plot, conflict, and resolution are formed by our conception of our Master Narratives. Most significantly, the Master Narratives guide our approach to our subject matter and our identities as writers.

Writers will have the opportunity to generate ideas and write into the questions unearthed by the discovery of their own Master Narratives. The knowledge and created text about the writer’s personal Master Narratives will serve as a resource for writers as they embark on the stories that only they can write.

Watch an interview with Stephanie Han on her workshop, Master Narrative A Deep Dive.


EJ Levy

It’s You! Writing in Second-Person (live)

Point of View is often said to be the most important decision we make in writing prose, but that choice is often a reflexive or unconscious one. This craft seminar invites participants to consciously explore second-person POV: how it can reveal character, heighten effect, draw the reader in. Discussion of examples from fiction and nonfiction by Offill, Diaz, Houston, Kenan, Kincaid, and Moore will be followed by a writing exercise to explore the rich potential of an underrated POV and to generate excitement for point-of-view’s possibilities. Participants can expect to expand their options for story and leave with a new draft piece.

Elizabeth Jacobson

Intimate Immersion: Create and Critique (online only)

During this three-hour workshop, we will focus on generating new poems, critiquing each other’s work and looking at elements of craft. Each participant is invited to bring one new/finished poem (no more than 30 lines, please) with copies for everyone for workshop discussion and critique. Additionally, contemporary poems will be provided as a catalyst for conversation and craft focus. Writing prompts and time to write will be offered as well during our session together. This will be an intimate immersion to reinforce your writing practice and foster the evolution of new poems

Amy Beeder

The Ordinary & Extraordinary: A Poetry Workshop (live)

How do you write the ordinary? The extraordinary? What is an “audible web of sound” and how does it lend beauty and conviction to a poem? Have you ever written poems that are confessions, lists, spells, or rumors? What happens if you replace Latinate words in your poem with Germanic ones?

The purpose of this workshop is twofold: to engage in passionate & inspiring discussion, and to generate new work through at least three in-class exercises. We will begin by reading a few poems and discussing different poetic elements (such as line length, diction, image) and modes (like observation, address, catalog) before we focus on in-class writing exercises. I hope these exercises will push you to try new forms and subjects, and take fresh imaginative leaps.

Sawnie Morris

Poetry & Punctuation (online only)

W.S. Merwin abandoned punctuation, declaring that it “seems to staple the poem to the page.” Emily Dickinson, on the other hand, famously said that a real poem caused her hair to stand up on her head –– and Emily was queen of the dash and other well-placed marks on the page. We will examine a range of poems by classical and contemporary poets, giving our attention over to punctuation that serves as enlightening notation and guiding signage. We’ll also consider the freedoms and risks inherent to unpunctuated space. Come prepared to enter sentences and their elements. Bring pen, paper, and/or lap-top, plus three poems of your own whose punctuation or lack of it you question and/or are willing to experiment with altering.

Day 3

July 31, 2021

9:00 – 12:00

Linda Michel-Cassidy

 The Sum of the Parts: Short Lyrical Prose (online only)

Short-form writing has been having a moment of late. Some of the most exciting brief writing lands between poetry and prose, taking cues from both. We’ll investigate fragmentary writing, and its potential: lyrical and story-like, compressed, but with an eye toward detail and voice.

We’ll look at prose poetry, flash prose, list stories, American Sentences, and other such forms for clues to embolden our own writing. These small pieces truly straddle the worlds of both prose and poetry, luxuriating in this in-between place. Best of all, they are fun to write and are a great way to shake up your writing.

When collected, they create narratives that feel fresh and captivating. We’ll talk about compiling into groupings, creating through-lines and tension, the power of accumulation, and of the muscularity we can get with minimalism.

This class is appropriate for writers of all genres, the only requirement being an openness to experimentation.

T.J. English

The World of Nonfiction Writing (live)

The three-hour workshop will explore the world of non-fiction writing, which includes journalism, essays, reviews, and long-form narrative non-fiction for magazines and online publications. The course will also deal extensively with conceiving, researching and writing a non-fiction book for publication. The first half of the course will deal with the creative nuts-and-bolts of narrative non-fiction writing: coming up with subjects and ideas, conducting interviews, doing research both archival and online, cultivating sources, the organizing and structuring of the writing itself, etc. The second half of the course will deal with the business side of the writing life: writing a book or magazine proposal, pitching it to magazines and publishers, finding an agent, keeping your head above water financially, etc. Driving this course will be a series of thematic questions: why do you want to be a non-fiction storyteller? What do you have to say? What makes you unique as a writer and storyteller?

Jesse Maloney

Patient Patiently: Using lived details in narrative (online only)

Alice Munro defines life as a series of routines that begin malleable but will inevitably settle, harden and end quickly if not disrupted.

A 2012 provision in JCAHO (joint commission accreditation of healthcare organizations) prevents the word ‘disruptive’ from being used in matters related to discipline. A ‘disruptive’ employee is integral to progress.

Combing through years of provisions and bylaws to discover one word, disruptive, cannot be used as a pejorative is a lived detail.  Saving a medical professional’s career based on that discovery, that one word, is a lived detail. 

One word, one lived detail allows the reader closeness to an experience that only comes when it is lived by the author.

Watch an interview with Jesse Maloney on their workshop, Patient Patiently: Using lived details in narrative.

Sean Murphy

The Writer’s Voice (live)

How do we uncover our most natural voices as writers? In this workshop we’ll learn how to get going and keep going by using free-writing and other techniques to stimulate creativity and encourage fresh ideas for fiction, non-fiction, poetry or journaling.  We’ll learn tricks to beat writer’s block, and experiment with structure, styyle, and the observation skills that bring our writing alive.  this approach is suitable for writers of all levels, in any genre from fiction to memoir to poetry.  It’s terrific for breaking through blocks or simply rekindling that old excitement in the creative process.

Juan Morales

Hunger and Ritual: Writing poetry on Food  (live)

In this workshop, we will look at poetry and short forms to awaken our sensory details in our writing, lines, and forms. We will look at influential writers and depictions of food in order to write about our explorations of what we eat and the relationships they cultivate. Whether it be issues of sustainability, memories of family meals, the recipes we struggle to recreate, or the places we cook, we will work our writing muscles to discover how food teaches us to remember and to create rituals in our lives and on the page.


The Taos Writers Conference offers lunchtime Roundtables on Saturday, Day 2 only.
These value-added lunch events are informative and free to attend. Bring your brown-bag lunch to the group discussions with local experts on topics of interest in the literary world.

Saturday 12-2 Author Book sales 

Day 2

July 24, 2021

12:15- 1:00

Michael Blevins: Tips for Self-Publishing (live)

The session will cover: The reasons to self-publish, creating a new publishing model, navigating the process, finances & resources, and marketing

Day 2

July 24, 2021

1:15- 2:00

Adrienne Pond:  Partnering with an Editor (online only)

A good editor will partner with a writer, rather than act as a fixer. In this brief workshop, Adrienne will offer information on the different stages and levels of editing, what to expect from a relationship with an editor, and some steps to take to prepare your manuscript for editing.  

Early Bird Registration ends 6/15/22. All registration closes on 7/28/22.

PLEASE NOTE OUR CANCELLATION POLICY: 100% refund minus a $35 administrative fee for cancellations dated 6/15/22 or earlier; 50% refund minus a $35 administrative fee for cancellations received between 6/16/22 – 7/25/22 No refunds given for cancellations received after 7/25/22.

Open Tues-Sat  12pm-4pm  575.758.0081  108 Civic Plaza Drive

Mailing Address: P.O. Box 3225, Taos, NM 87571


SOMOS programs are made possible in part by these organizations: New Mexico Arts • Taos Community Foundation • The McCune Foundation • The National Endowment For The Arts • The Virginia Wellington Cabot Foundation • The Peter And Madeleine Martin Foundation for the Arts • The Santa Fe Community Foundation • Taos County Lodgers Tax • The Richard B. Siegel Foundation • TaosNetLLC for high speed internet service  • LANL (Los Alamos National Labs)  • New Mexico Humanities Council