King’s 2026 graduates: Forty-five new students ready to send their book ideas out into the world
This May, forty-five students graduated from the King’s MFA programs. Though the Halifax spring weather was typical — chilly, rainy, windy — it was hardly a match for the warm conviviality of the 2026 MFA classes. A brief break in the downpour allowed our students to gather on the library steps where, just two short years ago, they’d exited from their Matriculation ceremony. As each student crossed the stage, another writer jumped into a new beginning in their journey to publication. We can’t wait to read their books and send our congratulations to everyone in the Class of 2026.
Residency recap
Our June residency was the biggest one to date: 113 students, twenty-seven faculty, and two staff meant 142 people were wandering the campus quad, which was transitioning between the magnolia and rhododendron blossoms. Eight mentor talks filled with wisdom, sixteen inspiring cohort lectures, four residency events at Halifax Central Library — including the inaugural Stephen Kimber Reading Series in Fiction — and thoughtful advice from Writer-in-Residence Amanda Leduc made for an impactful residency experience. A few bittersweet tears were shed on the final afternoon with the realization that these sessions are too few and far between. The King’s writing community was made stronger by our brief time together.
Post-MFA Mentorships
Open to all MFA alumni, Post-MFA Mentorships (PMM) are available with select mentors from the program. Like MFA mentorships, the PMM gives you a chance to review work on a one-to-one basis; you may submit portions of your manuscript, new work, or a book proposal to workshop with your chosen mentor. The new year starts in September. Watch for applications opening this August.
Teaching Creative Writing Workshop
The Teaching Creative Writing (TCW) Workshop will run again this coming fall and winter, and we invite you to apply! Open to all King’s MFA Alumni, the Workshop includes an intensive session to begin, followed by monthly classes and scheduled check-ins with the Workshop instructors. Please see below for a breakdown of the Workshop and a link to the application form.
The TCW Workshop will provide the skills necessary to develop and deliver writing craft courses on a variety of topics, while simultaneously bringing our alumni back together and expanding the King’s writing community. The Workshop will build on the MFA program’s strengths in incorporating industry-specific material, teaching participants how to market their courses and find their audience. Participants complete the Workshop with a full teaching portfolio, including: a sample syllabus, a teaching philosophy, a business statement and marketing plan, a one-hour sample class, and a teacher’s toolkit. Participants will receive a formal letter of completion from the Writing & Publishing program.
Workshop cost
$4995.00
The 2026-27 session is only open to King’s MFA alumni (you must have graduated from the MFA program to participate). To apply, please fill out this form. Deadline to apply is July 31, 2026. Note that the form asks you to choose your preference for an in-person or online intensive format; once students are notified of acceptance, we will also let you know the format. Applicants will be notified of acceptance by August 5, 2026.
King’s welcomes seven new faculty and staff
We’re thrilled to welcome new faculty and staff into the King’s MFA fold, some of whom you met in the previous newsletter:
Associate Director Alison DeLory
Creative Nonfiction Mentor Adrienne Gruber
Fiction Mentor Chelene Knight
Fiction Cohort Director Kathryn Kuitenbrouwer
Administrative Assistant Emma Kuzmyk
Fiction Mentor Tiffany Morris
Fiction Mentor Jasmine Sealy
Our new Associate Director Alison DeLory comes to us from the Advancement Office at Dalhousie; before that she was Associate Director of Advancement Communications at King’s. She is a writer, editor, teacher, and communications professional. Alison is the author of two children’s books, Lunar Lifter and Scotia Sinker, and the novel Making it Home(Nimbus 2019), a finalist for the Kobo/Rakuten Emerging Writer Prize.
Kathryn Kuitenbrouwer is the bestselling author of the novels Wait Softly Brother, All the Broken Things, Perfecting, and The Nettle Spinner, as well as, the story collection, Way Up. Her work has been published in Granta Magazine, Maclean’s Magazine, The Walrus, Significant Objects, Storyville, Joyland, THIS Magazine, The Lifted Brow, and 7X7LA. Her fiction has won a Danuta Gleed Award, and been nominated for The Scotiabank Giller Prize, The Amazon.ca First Novel Award, Toronto Book Award, CBC Canada Reads, and the Relit Award. She is the recipient of The Sidney Prize.
Emma Kuzmyk (FIC25) graduated with the very first cohort of the Master of Fine Arts in Fiction program at King’s. Emma’s professional experience, like her education, is centered on a love for art and storytelling in all their forms. She’s produced digital content for non-profit organizations, and her writing has appeared in Room Magazine and various news outlets. She is co-editor of the anthology This Wasn’t on the Syllabus (Simon & Schuster) and is working away on a speculative fiction novel.
Tiffany Morris is an L’nu’skw (Mi’kmaw) writer from Nova Scotia. She is the author of the horror novella Carnalis, the Indie Ink Award-winning novella Green Fuse Burning and the Elgin Award-winning horror poetry collection Elegies of Rotting Stars. Her work has appeared in the Indigenous horror anthology Never Whistle At Night, as well as in Nightmare Magazine, Uncanny Magazine, and Apex Magazine, among others. She is a current Director-at-Large for the Writers Federation of Nova Scotia and one of the founding Directors of TriCon: The Trident Conference for Speculative Fiction.
Jasmine Sealy is a Barbadian-Canadian writer. She is a graduate of the MFA program at the UBC School of Creative Writing where she won the 2020 UBC/HarperCollinsCanada Best New Fiction Prize. Her short fiction has been shortlisted for the CBC Short Story Prize and the Commonwealth Short Story Prize and included in Best Canadian Stories and the Journey Prize anthology. Her debut novel The Island of Forgetting was published in 2022. It was named a best book of 2022 by the CBC, The Globe and Mail and The Sunday Times in the UK. It was shortlisted for the Rakuten Kobo Emerging Writer Prize and the OCM Bocas Prize for Caribbean Literature. It won the 2023 Amazon Canada First Novel Award.
King’s Co-op Bookstore ‘Jules Recommended’
The King’s MFA program has a longstanding connection and friendship with King’s Co-op Bookstore — where you can purchase over a hundred titles written by King’s MFA alumni, students, and faculty!
Bookstore assistant manager Jules Wilson shares their ‘Recommended Reads’:
Staying Power: On Queerness, Inheritances, and the Families We Choose (Arsenal Pulp Press) is the debut memoir from non-fiction writer and essayist Zena Sharman (The Care We Dream Of). I read this work as a ritual of release and renewal: a container, a community, a way home. Destined for the archives, there’s so much in here: queer history; a tender through-line about choosing functional distance from family of origin and the complex grief that accompanies that decision; the bond between sorrow and intimacy; femme erotics, power play, and the prescribed identities of mother/daughter/wife; motherwork outside of motherhood; and, much more. A favourite standalone is a brilliant essay about Dolly Parton, 9 to 5, and “at least two waves of feminism between my mother and me”. This is a compelling text for anyone who turns towards the vital work of interdependence and a commitment to relational and familial structures that nurture new lineages of care.
“We are not our work, and that applies to mothering as much as it applies to how well an article or a book does, because we are so much more than our output.”
A Bed of One’s Own
by Kirsten Fogg (CNF22)
A decade after Stacey May Fowles finished her MFA (CNF15), she has emerged a more self-compassionate, even happier and healthier version of herself. The ambitious award-winning journalist, who for years wrote articles and novels late into the night after working a full-time job has, since becoming a mother, shifted her perspective.
“The meandering path, as I’ve learned over the past decade, is valuable,” says Fowles from her work space where she sits crossed legged in comfy clothes on her bed. “You don’t have to destroy yourself to be successful, and that was a very hard lesson for me to learn because I destroyed myself to be successful for so long and I don’t want to do it anymore.”
Part of that transformation started during the King’s MFA program. Fowles, who had already published three novels, was mid-career and craving writing community as well as ways to submerge herself in the craft of long-form nonfiction.
“My brain would just sing in those rooms where we were talking about structure and narrative and through lines,” says Fowles whose tenth book The Lost Season: A Memoir of Infertility, Motherhood and the Worry and Work Demanded of Women was released by Penguin Random House Canada in early June. Drafting memoir can be a “very raw emotional experience,” she adds. The supportive environment of the MFA allowed her to experiment and learn how much of her personal life she was comfortable sharing publicly.
Even though Fowles didn’t publish the manuscript in its entirety that she worked on under the guidance of Lorri Neilsen Glenn and other MFA faculty, the time was not wasted. She gained not only community but “the tools and perspective” to be able to pursue freely what she really wanted to do. Shortly after graduating, Fowles shifted gears and wrote the national bestseller Baseball Life Advice: Loving the Game That Saved Me (Penguin Random House Canada 2017).
In The Lost Season, Fowles, who has edited four anthologies including Good Mom on Paper (Book*hug Press 2022),explores with great humility the enduring emotional and mental health ramifications of infertility, toxic hustle culture, and the pressures put on mothers to do it all — without complaint. She grapples with questions many caregivers face, namely, how do we create new opportunities that feel more comfortable, that offer more room for us and our children (or the people we’re looking after), rather than trying to “shoehorn ourselves” into the frenzied productivity ethos of the current world. Eventually Fowles realized that she had to “disappear” from her old life and “uncouple her worth from her work.”
It wasn’t easy. She struggled to write creatively in the first two years of her child’s life. Even though others reassured her it was okay to take time to adjust, she had pushed herself for so long that who she was had become intrinsically linked to her productivity, and she berated herself for failing. However, around the time her daughter was two years old and the pandemic hit, something changed and Fowles found she was suddenly drafting essays in a new, more lyrical voice. Over a five-year period, these pieces eventually became The Lost Season.
“It’s sort of wild to me, how much I wrote after such a long drought,” says Fowles, who now works, in the style of Maya Angelou or Edith Wharton, mainly sitting on her bed with her books and journals spread around her. Becoming a mother forced Fowles to adapt and shift her perspective not only on where she could work, but fundamentally, on her own value. “I had these very strict ideas about what gave a person worth, and it was work. It was paid, prestigious, high-profile work and now I know that’s bullshit. It’s faulty logic.”
It could be said that writing The Lost Season on her bed, for Fowles, represents a physical manifestation of the massive change she has undergone and engineered for herself. She doesn’t engage in the frantic pitching and article writing that once consumed her. She’s striving to let go of the paradigms that governed her professional life and that includes rebuffing any societal-driven shame attached to writing on her bed.
For Fowles, who has long championed women’s writing and the less discussed but crucial aspects of women’s lives, The Lost Season is about changing direction. Fowles explores many topics related to mothering, including postpartum anxiety, but what clearly comes through is the notion that “we are not our work, and that applies to mothering as much as it applies to how well an article or a book does, because we are so much more than our output.”
These days, between school bake sales and talent show costumes, Fowles is drafting three manuscripts as well as book reviews. But it’s her editorial work with other writers that she finds far more exhilarating than any clicks or likes her articles received. In fact, it reminds her of “that electric feeling” she experienced during her MFA.
Good writing, according to Fowles, is not only about putting words on paper. It comes from reading widely, taking a vacation, going for a walk, connecting with other writers. It comes from following our passions, our obsessions, and our curiosities, and working in the ways that best suit each of us, even if that means from a bed of one’s own.
“My conversation with myself was, when had I ever waited for permission to do something I wanted to do? And the answer was never.”
Fay Martin reflects on her memoir, The Dementia Widow
by Lana Hall (CNF23)
Fay Martin never wanted to write a memoir. “I thought, ‘Oh that’s what famous people [write] and all they do is drop a bunch of names,’” she says.
Since her husband Michael’s death in 2020, she had, however, been thinking about writing something; perhaps an account of their lives together, a pair of trailblazing social workers and activists who worked closely with under-resourced Indigenous communities, kids in the child welfare system, and unhoused people. At one point, the pair was surveilled by the RCMP for their work, Martin believes. “We had a complicated life,” she says. “We were working in the underbelly at a time when we didn’t acknowledge there was an underbelly.”
But Martin was daunted by the amount of research a book about her work and its sociopolitical context would involve, and she had a nagging feeling that wasn’t the story she was supposed to tell — at least not yet. A non-credit memoir writing course with King’s MFA mentor Cooper Lee Bombardier in 2021 solidified her decision to shift gears. He encouraged her to dig deeper into her own story of being Michael’s caregiver in the years leading up to his death: a story of love, duty, and, ultimately, resilience.
Bombardier’s course taught Martin that in a memoir “You have to say the unsayable,” she reflects. “So I thought, ‘Okay, what do I want to say the unsayable about?’ The whole thing about how caregiving is so hidden, and so misunderstood.”
In some ways, it’s the same book as she had originally envisioned, just “in a different outfit.”
The Dementia Widow, which she published earlier this year with Iguana Books — a hybrid publisher that publishes ebooks and on-demand editions — details her experience as a caregiver for Michael from the time of his dementia onset in his 50s, until his death fifteen years later. Martin recalls the moment she acknowledged some of Michael’s puzzling personality changes were likely linked to dementia, a jarring change from someone she had long considered to have been an equal partner in both love and work.
“When I figured out it was dementia, I thought ‘Okay, you’ve got a choice. Either you chuck him now so that he can make other alternatives, or you tuck in and do it right.’ But that’s not as a wife and as a partner, that’s as a caregiver. So that’s where the dementia widow comes from …The man you married is gone … And to be a caregiver is a very different role than being — at least my version of — a wife.”
Shortly after taking Bombardier’s workshop, Martin enrolled in the King’s MFA in Creative Nonfiction program, where she worked with mentors David Hayes and Ken McGoogan, who she says took an egalitarian and supportive approach to mentorship that was never authoritative, despite their significant experience. They, along with her mentor group members, who Martin says were “bright” and “not afraid to be themselves, no-holds-barred,” helped shape her manuscript.
Despite the heavy subject matter, Martin was determined to bring a sense of levity and warmth to her story. She was particularly validated when one reviewer on Goodreads wrote that she was “pleasantly surprised” by Martin’s book and even found herself laughing throughout.
“I wanted to show what it was, [as much as] what it wasn’t, because it wasn’t horrible,” Martin says of her experience as Michael’s caregiver. “It was hard work, but it was never horrible, including his death. He had a good death.”
Eager to share her story with the world, and have creative control over her words, Martin opted to self-publish her memoir with Iguana, who helped with cover design and editorial support. At age 83, she wasn’t sure she wanted to wait around for the traditional publishing industry to notice her.
“My conversation with myself was, when had I ever waited for permission to do something I wanted to do? And the answer was never.”
Self-publishing has required Martin to organize and host her own promotional events for the book, an exhausting job at times, but one she feels uniquely qualified for given her background in advocacy, public speaking, and community organizing. Broadening the conversation around the caregiving experience is important to Martin, and so far, she feels the book is a natural tool to bring that conversation into the light.
“The feedback I’ve been getting just keeps feeding that whole discussion and debate around caregiving, which is nothing but good,” she says.
Class Notes:
Nadia Aumeerally (FIC25) published an article in The Lounge, a new magazine for Canadian physicians. The launch of the publication was celebrated at the Halifax Central Library in April. A free online subscription can be accessed on Hallway Press’ website.
Keili Bartlett (CNF 25) recently launched her Substack, Naturally Curious, for those intrigued by nature. It will include her latest writing, field notes, and reading recs all in one space. Keili is also attending the Orion Environmental Writers’ Workshop in New York this June.
Katharine Lake Berz (CNF27) won Gold at the Canadian Association of Journalists awards gala in the Written Feature category for her Toronto Star investigation into a pregnant Ukrainian medic held in Russian captivity.
Gloria Blizzard (CNF21) joined Bomber’s Dream: The Music of The Mighty Bomber Film Premiere + Concert Experience, by the Kaiso Street Society, at Toronto’s Hugh’s Room, as a part of the panel alongside Antonio Michael Downing, Natassia Morris, Roberto Occhipinti, and JUNO-nominated musician and founder, Jesse Ryan. Gloria also took part in a panel called “Before and After the Debut” at the Canlit, Writing, Publishing, and Pedagogy Conference at the University of Winnipeg on May 27-29, with Angel Di Zhang, Christine Estima, and JF Garrard. She recently read new works at the Toronto Public Library with Bernadette Dyer, Kevin Wilson, Christine Fischer Guy, and Myrtle Henry Sodhi.
Jenny Chen’s (CNF23) CNF essay “Why I Took an English Name” will be published in subTerrain Magazine’s Summer 2026 issue. She first wrote this essay during former MFA Cohort Director Stephen Kimber’s course. After spending several years revising and polishing the piece, “It feels great to finally see it find a home.” Her CNF essay, “More than Words: A Bilingual Poet’s Reflection on Language” about writing poetry in English as a second language, appears in the June issue of Montecristo Magazine. She extends a big thanks to fellow MFA alum Niko Bell (CNF23) who suggested she turn the idea into a piece for Montecristo, where he serves as a contributing editor. Additionally, Jenny has three recently published poems: “渡 | Crossing,” West Trade Review, Spring 2026; “Self-Portrait as a Failed Revolutionist,” ARC Poetry, Spring 2026; and “Garbage Night,” The Swannanoa Review, Spring 2026. Connect with Jenny on Instagram: @jlchenwrites.
Rob Csernyik (CNF23) won Gold in the Online Media category from the Canadian Association of Journalists and received an Honourable Mention at the 2026 National Magazine Award in Investigative Reporting for his piece “This online scam is putting the LGBTQ2S+ global activist community at risk” that first appeared in Xtra.
Nancy Dutra (CNF25), working with editor Dylan Reid (CNF21), published a feature titled “Ghosts of East-End Stadium: United Ulster FC and Toronto’s lost soccer legacy” in the print magazine Spacing. She also has a short featureon talented photographer Danny Custodio, in print, in THIS Magazine.
Thelma Fayle (CNF23) says “I have never been athletic in my life, but I wanted to learn something completely new.” She wrote about the experience in an opinion piece “Learning to run – at 70” for the Toronto Star.
Amy Fish (CNF23) invites you to a Montreal Writer’s Retreat, a full weekend writing workshop July 30 to August 2, featuring creativity exercises, writing prompts and sure — some quiet time to write. Workshops will be taught by Amy and Lara Lillibridge. Whether you’re dredging up hard memories or looking for that elusive punchline, they aim to make it a bit easier. The cost is $250 for workshops (lunch included). Email amyfishwrites@gmail.com for the full schedule and book your spot today!
Kirsten Fogg (CNF22) is thrilled to be the Writer-In-Residence for the Distress Centres of Greater Toronto. Her new role will be launched at the September 13th Walk for Suicide Awareness where she will be appearing as the Pop-Up Story Catcher. Throughout 2026-2027, Kirsten will be working with DCGT staff and the public to share stories of healing and hope. Kirsten was also the guest speaker at the Suicide Prevention Community Council of Hamilton’s 2026 gala fundraising event.
Nancy Forde (CNF26) was recently sent on assignment for UN Women to document an Indigenous Water Walk near Cobequid Bay led by Sipekne’katik First Nation. Nancy’s essay “Root Vegetable” on the humble potato, her Irish heritage, and food security, was published in May 2026 by Illinois-based Center for Humans and Nature. The Center has published words by inspiring humans she deeply admires including Jane Goodall, Robin Wall Kimmerer, Waubgeshig Rice, Julian Brave NoiseCat, and Rebecca Solnit among others. She feels honoured to join the Center’s community of contributors. “Root Vegetable” was initially workshopped during her first MFA residency (in June 2024) with King’s mentor Harry Thurston. Its publication, as graduation neared, felt a timely and happy circle closing as Nancy wrapped up her MFA degree pursuit.
Maryanna Gabriel (CNF22) is happy to announce Walking the Camino: On Earth As It Is, a book about journeying the Camino Francés and processing the death of her mother, has gone into its third printing with Pottersfield Press.
CNF Mentor Adrienne Gruber won Second Place in the 2026 Creative Nonfiction Contest for her essay “Tens of Thousands of Wounds.” The contest submissions were judged anonymously by CNF Mentor Ayelet Tsabari.
Lana Hall’s (CNF23) longform article “The Dead Mall Society,” originally published in Hazlitt, has received an Honourable Mention in the Feature Writing category at the 2026 National Magazine Awards from the National Media Awards Foundation, and the Best Feature Article category at the Digital Publishing Awards.
Fiction Mentor David Huebert was part of this year’s final jury for The Writers’ Union of Canada’s 33rd Annual Short Prose Competition, alongside Shauna Singh Baldwin, and Léa Taranto. Claudia Gahlinger (CNF25) was a Finalist in the competition for her piece “Brushes with Death and Marriage.”
Creative Nonfiction Cohort Director Dean Jobb’s feature “Seeing Red,” exploring novelist Ernest Hemingway’s fascination with Canadian outlaw Norman “Red” Ryan, appears in the Summer 2026 issue of Canada’s History magazine.
Inglis Professor and former MFA Cohort Director Stephen Kimber was a 2026 King’s Alumni Award Recipient, awarded the Order of the Ancient Commoner. He was also awarded the Atlantic Legacy Award at the Atlantic Book Awards.
Kelley Korbin (CNF25) published an op-ed “Bill 18 wants to restrict the right to die in Alberta” about Alberta’s proposed new and restrictive MAID laws in Forward Weekly.
Sophia Lawrence (CNF27) won the Nova Writes Competition Silver Donald Cameron Essay Prize from the Nova Scotia Writers’ Federation for their essay “Weeding and Burning.”
CNF Mentor Lezlie Lowe was the judge of this year’s Silver Donald Cameron Essay Prize as part of the Nova Writes Competition run by the Writers’ Federation of Nova Scotia. All submissions were anonymous and evaluated based on merit.
Margaret Lynch (CNF20) is pleased to re-publish her CNF piece “Witness” at SugarSugarSalt, a curated online literary magazine of previously published creative nonfiction. This personal story first appeared in the January 2020 print version of untethered magazine. “It explores my difficult paternal relationship, and how I came to make peace with it.”
Angus MacCaull (CNF23) was excited to work with Canadian soccer legend Atiba Hutchinson to share the story of European-style mini-pitches coming to Canada for Maclean’s World Cup coverage. He also reported on the importance of being an opening act in today’s music scene for Exclaim!; and about how remote hiring may help solve Canada’s talent crisis for The Globe and Mail.
Martha Morrison (CNF22) was the opening speaker at the Port Burwell Writers’ Festival presenting her talk “How to Make Time for the Writing Life.” Martha also made time to serve as a reader for the CNFC creative nonfiction contest and has a piece titled “Mothering with Migraine” in the upcoming anthology Tender Voices: Mothering into the Twenty-First Century co-edited by Lucy E.M. Black and Adelle Purdham (CNF22).
Past Mentor Omar Mouallem has relaunched Pandemic U as Haq Story School, and has two summer courses on offer. Omar will be leading an Interviewing & Profile Writing Bootcamp happening July 4–5, focused on reporting, interviewing, and shaping compelling profiles. Journalist Richard Warnica is teaching Finding Your Voice as a Feature Writer, a seven-week course for intermediate and advanced writers looking to sharpen their feature craft. Both course listings and details are here: https://www.haqstory.com/classes
Jill Murray’s (CNF27) short essay, “Perfectionists Hate This One Simple Trick,” was published in The Game Narrative Kaleidoscope, an anthology of professional reflections, advice, and techniques from a diverse range of writers and narrative designers who work in games (tabletop, video, and otherwise). Murray’s exploration of the impostor-syndrome-busting benefits of literally just finishing your writing projects is also available as a free download for anyone who signs up for the newsletter she dutifully created after being prodded by the marketing assignment in her Publishing 1 class.
Jan Pezarro’s (CNF24) hybrid medical memoir Timebomb: A Memoir of Mad Men and Lung Cancer will be published in fall 2027 with She Writes Press. Jan has published three new pieces related to her advocacy work for lung cancer: “The Ponzi Scheme of Tobacco Litigation” (Vancouver Sun), “Lung Cancer is Treatable When Found Early” (International Lung Cancer News), and “Shamed to Death” (Healthy Debate). Jan began writing Timebomb while in the MFA program.
Adelle Purdham (CNF22) published a short story “Star People” in the Spring 2026, Issue 73, of the Ex-Puritan.
Bonny Reichert’s (CNF22) memoir How to Share an Egg: A True Story of Hunger, Love, and Plenty was shortlisted for the 2026 Taste Canada Awards in the Culinary Narratives, English category.
Brian Rendell (FIC25) is pleased to be appointed President of the Atlantic Book Awards Society, a nonprofit organization whose mandate is to promote and acknowledge excellence in Atlantic Canadian writing and publishing.
Doug Sinclair’s (CNF27) opinion piece “Emergency room deaths are a solvable problem. So why are so many recommendations being ignored?” appears in the Toronto Star.
Outgoing Fiction Cohort Director and current Mentor of Kings’ new MG/YA/NA stream of book writers, Wanda Taylor has two children’s nonfiction books set for release this Fall, as part of Beech Street Books’ True North series. One is on R&B performer The Weeknd and the other is on former Governor General Michaelle Jean.
Thirty writers from across Canada made the 2026 CBC Short Story Prize longlist, including King’s own CNF Mentor Kelly S. Thompson, for her short story “Do No Harm”.
Director of Writing & Publishing Gillian Turnbull’s (CNF17) forthcoming profile on the Writers’ Federation of Nova Scotia will appear in THIS Magazine.
The Creative Nonfiction Collective Society announced its 2026 Board of Directors, which is composed entirely of King’s MFA students and alumni, including: Nancy Dutra (CNF25), Sue Nador (CNF20), Loraine Fowlow (CNF26), Amy Fish (CNF23), Michelle Hébert (CNF24), Rebecca J. Hogue (CNF27), Jen Watt (CNF25), and Morag Wehrle (CNF25).
Do you have writing news fit to share in Class Notes?
Please contact: ukc.mfa.newsletter@gmail.com
Adelle Purdham (CNF22) is the editor of the MFA Scribbler — thank you for reading!