Are you or someone you know interested in arts administration? We are looking for an Operations Director and Communication Assistant. Both positions are volunteer with a possible stipend.
OPEN POSITIONS: Please send cover letter and resume by February 22nd to firstname.lastname@example.org
Operations Director: Oversees the daily operations of the organization while working independently and with stakeholders to plan Frequency’s long-term operational development. The Operations Director will work the Treasurer to compose and monitor the organization’s budget. They will also oversee the organization’s compliance, communications, marketing, space administration, and records and information management. With Artistic Director, creates and manages fundraising activities. This position is largely volunteer, with a possibility of a stipend. Work is done remotely, with 1-2 in-person board and staff meetings per month. Work time averages 6-10 hours per week. The ideal candidate will be local to Providence RI, have a passion for writing and community education, will be a thorough and organized administrator, and will be comfortable working with people of all ages and identities. Full job description here: Frequency Writers Operations Director full job description
Communications Assistant: helps to generate content for website, social media, and newsletter, manages website updates; familiarity with wordpress and paypal preferred, manages data for students, course registration, payment, and correspondence, table various events; approximately 4-5x per year, perform other administrative tasks as needed, team player as this position works closely with Artistic Director & Operations Director, mostly work from home; with occasional f2f meetings, 15-20 hrs per month with possible stipend.
The Writing Community
I really recommend Frequency for folks who might have a lot going on, but still want to refocus on their craft in some way. Folks who are new to writing or coming back to it after years–there is room for everyone!
I especially encourage other folks of color and queer folks to join the classes.
This New Year’s we will start at the beginning: The origin.
In this one day studio course we will take a look at the origins of space-time, the Earth’s geographical/topographical history alongside etymology (the origin of words) to generate new work or add to works already in progress. Appropriate for all genres, interests and levels of writing comfort!
Instructor: Nada Samih
When: Sunday January 27th
Time: 10:00 am to 2:00pm
Where: What Cheer Writers Club,
160 Westminster St, Providence, RI 02903
Read about Nada’s experience of starting out as a student of Frequency Writers workshop, or hear what she has to say about this class in the video below:
REGISTRATION required: https://frequencywriters.org/register/
RSVP and invite folks on our Facebook Event pages.
Nada Samih-Rotondo is a writer, teacher, and mother who is inspired by the relationship between personhood and place. Born in Kuwait to Palestinian parents, she immigrated to the United States at the age of six to Rhode Island as a refugee of the Gulf War. She has taught creative writing, literacy, and English as a second language to low income students in communities of color in grades 7-12 and through college. She holds an MFA from Lesley University in Fiction and loves creating from the intersection of all genres. She is interested in the slippery concepts of home, intergenerational trauma, and folklore. Her writing has been featured in the Masters Review, Squat Birth Journal and the Frequency Anthology. Nada can be followed on her blog: https://nowapproachingprovidence.wordpress.com.
New workshops are posted, and registration is now open!
- Start the New Year with a generative workshop all about origins.
- Build worlds of sci-fi and imagination.
- Develop mood and voice through music.
- Explore more on our Current Courses page.
We invite you to join us for our Open House on Sunday, January 20th, 6:30 pm at Ada Books: 717 Westminster St, Providence, RI. All are welcome to join us to hear from upcoming Frequency instructors and to mingle with budding and experiences writers alike in the local community!
Collaborative workshops will be led by Nada Samih, Karen Haskell, Amy Lewis of What Cheer Writers Club, Victor Wildman, Jodie Vinson, and Kristen Falso-Capaldi. Learn more about the many Frequency Writers leaders here: https://frequencywriters.org/about/instructors/.
Scholarship information for workshops available here: https://frequencywriters.org/scholarships/.
In May 2018 two Frequency alums, Judee Barr and Fallon Masterson, started Stranger Stories, a bi-monthly reading series where local writers come together to share true stories and personal essays in an intimate space. Artistic Director Rosalynde Vas Dias was thrilled to interview them.
Rosalynde: So, speaking for myself specifically and Frequency generally, it is pretty exciting to have two Frequency alums starting a story telling series here in the greater PVD area. Can you fill us in on the origin story of Stranger Stories? And have you used “Origin stories” as a theme yet?
Fallon: No, but that’s a great theme! The series came about because I lived in Chicago for a bit and took part in the live lit scene there. “Live lit” being defined as these readings of personal essays and creative non-fiction, a hybrid of storytelling and spoken word, but you’re “on-book” and reading from your work. (You can basically find a live lit show any day of the week there, it’s crazy how many there are!) When I moved back to Providence, I missed the ability to share my writing in that way and wanted to start a night. Then I met Judee at Frequency and realized she’d be the perfect person to bring the idea to life with me. She’d been hosting these salons at her apartment at the time, and had a real love for the community-building spirit of sharing your life experiences.
Judee: Yes, Frequency brought us together! Fallon wrote a piece about enchanted dust from New Mexico and another piece about being Italian, and I had to email her after class to say how much I enjoyed her writing. I loved her idea of creating a Providence space for writers of all levels to practice and share the personal essay form. I was holding these gatherings in my living room to make space for artists to share their work, and sharing pieces of our lives in a communal forum felt really powerful. We decided to give a reading series a shot! Thus began Stranger Stories. It’s been so much fun, and a thrill to get some support from the RI State Council of the Arts.
Rosalynde: Is there a particular bias you have as a ‘reader/curator’ when you are screening submissions for Stranger Stories?
Fallon: I’m always going to advocate for a story that I think will make an audience laugh. Even if it’s largely about something serious, if there’s a joke or two that seems like it’ll land, I’ll push for it. Pieces that are too maudlin risk veering on melodrama when they’re read out loud, if the writer isn’t careful. It can be done, though!
Judee: One of the things I love about creative non-fiction are those hilariously honest details that the writer can pinpoint in the process, the ones that are SO TRUE! and reel you right into their lives and their stories. The pieces that have sparks of that – the truth of someone, honesty that might be slightly embarrassing in a different setting – are the ones that really grab me.
Rosalynde: So this might be a softball, but can you tell us your fave non-fiction/CNF writer or tale-spinner?
Fallon: My CNF gateway, Joan Didion.
Judee: I don’t have a clear fav – I met the creative non-fiction form as a writer much more than a reader. But I have been blown away by Janet Malcolm.
Rosalynde: Can you challenge our readership with a CNF form they might use to access some particularly personal material? OR what do you say when someone says their life is boring?
Fallon: I like the Sherry Simpson “Tiny Masters” exercise, which comes off of a quote from Susan Orleans about how she’s most interested in writing about people who are masters of their “tiny domains.” Simpson’s idea comes from using this as a personal essay tool to shift the focus off ourselves, to our places of knowledge and power. To do the exercise, you write a list of ten things you consider yourself a master at. Maybe you’re an insane parallel parker or bread baker or master of apologizing. Pick an item off your list and jump in. In drafts, ask yourself, “What is this really about?” and the deeper level of your essay will become clear. It’s a good way to get at some unexpectedly heavy stuff, but sort of through a side door.
Judee: Our lives are worlds of fascinating weirdness. It’s all about noticing those strange details that add up to being a person, finding a way to access them like with the exercise that Fallon suggested. We did an exercise that I really enjoyed in a Frequency class called “Margins” led by Evelyn Hampton – we wrote a short personal essay, added footnotes to the essay, and deleted the content so that the footnotes themselves became the entire piece. It produced a kind of detailed commentary and frank tone that was fodder for more reflection and writing.
Stranger Stories next event information is as follows:
Submission Deadline for Writers:
Sunday, December 30, 2018
6:30PM, Thursday, January 24, 2019
Artists’ Exchange @ 50 Rolfe Square, Cranston, RI 02910
You can learn more about Stranger Stories by following them on facebook, or checking out their website: www.strangerstoriespvd.com
Dear Frequency Family,
I’ve been writing poetry for almost 30 years of my life. Like most of the writers I wrote poorly for a while, getting better by increments, learning with the help of patient teachers, a lot of reading, and a good bit of trial and error as well. It has been my incredible good fortune to have been involved with Frequency for the last 4 and half years. And it occurs to me that the long work I have done as a poet is similar to the work of keeping a delicate and beautiful organization like Frequency going—by which I mean so much of the work we devote ourselves to is invisible—the hours spent turning a vision in a reality, a draft into a final piece and hopefully a published piece, a read piece.
Like one’s writing life, shepherding a small non-profit through its stages of growth is fraught with self-doubt and every small success brings a sigh of relief, a glow of pride. Frequency was founded by writers and teachers who knew first-hand the drive to share the visible part of one’s writing life with a greater community and that is what drives us still. Frequency is still very much run by writers with day jobs and we know the almost measureless value of the time you give yourself as a writer to be with your community, to draft side by side with fellow writers, to receive from instructors, and to give as well, to share your work via a table read, an open mike, or publication in Frequency’s anthologies.
Your donation to Frequency today supports both the visible and invisible nature of the work we do—the glamorous and glorious side such as paying our truly beloved instructors and the mundane: rent and insurance payments. Most importantly though, your gift opens the door to writers like you who wish to take a class and be visible. For writers who wish to be both seen and heard, and need some extra help to do that. Profoundly and even radically, Frequency wants to honor the invisible and visible lives of writers in our community. Please help us do just that today.
Rosalynde Vas Dias
Victor, one of Frequency’s most in-demand instructors, will be leading Image into Text: an all-ages and all-levels workshop about writing and film. (More information below.)
Here, Victor joins us to discuss these mediums in tandem:
We too love film and feel innately inspired by it as a writer. How do you think cinematic image or motion emerges in your writing?
There is a real desire on my part to learn about my characters – not by imposing thoughts or characteristics on them – but by paying careful attention: observing what they do and where they go, listening to what they listen to, listening to what they say – as if their lives were simply unfolding before my eyes like a succession of images and sound, like a film.
How will this course build on previous Frequency courses you’ve taught or how do you think it will differ?
While I have occasionally asked my students to watch a movie and to do something formally analogous to what they saw in their writing, this course will mark the first time where the entire course will revolve around the doing of this kind of work: looking carefully at what certain films do with narrative and image and with sound and translating that as carefully as possible into a piece of writing.
What’s a favorite or haunting movie moment or image of yours that anyone reading this might turn to as a prompt or a goad?
Maybe the image at the end of Chantal Akerman’s Jeanne Dielman where the eponymous heroine, after having committed a shockingly violent act, sits down before her dining room table – or rather, it is not so much this moment taken by itself, but what this moment means after having spent almost three and a half hours getting to know her by paying her the respect of our undivided attention, time spent witnessing her life, and all the pain that we can now so plainly see. It is a haunting moment that reverberates long after the movie is over. It imprints itself on us and she is still sitting down before us, even now.
Dates: Thursdays, November 8th to December 13th
Time: 6:30 pm to 9:00 pm
Place: School One
$250, scholarships available
For over 8 years, Frequency Writers has been shaping our individual and collective voice, expanding our outreach, our wavelength, by contributing to the voices of many artists and writers through the offer of accessible, affordable, and unique classes that seek to empower writers of all levels and all backgrounds.
Frequency is nearly entirely volunteer-run, and your tuition goes to support our very talented instructors. We would like to offer even more:
- We strive to increase scholarships
- Grow our dedicated staff with compensation
- Create more opportunities to conference, learn, publish, and connect with writers and artists across Rhode Island and New England.
Our goal is to raise $500 in 2 weeks, beginning today.
The equivalent of 50 people choosing to donate $10 each. We can do it!
Frequency is thankful for your support!
The Devil You Know
The figures that stalk our nightmares are as familiar to us as any fictional character we might embrace. For every Mr. Darcy, Harry Potter, and Offred, there’s a Dracula, Prince Joffrey, or a Freddie Kruger. As much as they repel us, we never quite let go of them; do we? But where do our monsters come from? In this class we will dig into the ways in which monsters in fiction and film grant us access to powerful impulses coursing through our society, culture and ourselves. Through inventive and infectious (!) writing prompts, we will explore how writers might harness these energies to answer the question: How do monsters, freaks, and other tragic metaphors enable us to speak about our society and envision change?
Watch the two-day workshop trailer:
View/Register for all Current Courses.
Instructors: Janaya Kizzie & Rekha Rosha
Dates: Thursdays, October 18th & 25th
Time: 6:30pm to 8:30pm
$120 – Scholarships available!
Interview with Instructors about this course:
Will this be a class about ghosts, zombies, and sorcerers—or what sort of monsters are we talking about here?
The seed for this course was zombies, but we’re really talking about all of them! We’re interested in exploring the ways that monsters reflect and are shaped by our fears, so they come in as many shapes and sizes as we can imagine.
The structure and prompts of the class follow the structure of monster stories, which is essentially a tale of transition and self-discovery in the face of extremes.
As students reply to prompts, they will be writing toward and engaging with the fundamental building blocks of horror novel. Meaning that our students will be, essentially, in their own monster story.
We’ll be looking at excerpts from short stories and novels that give us insight what monsters mean to us, as well as the ways in which we fight, flee from, or accept monsters.
Will you address some of the dreadful aspects of writing, with ways to overcome these terrors?
Writer’s block can definitely be as paralyzing as a monster! We have two tracks going at once during the class: The narrative of the monster/self discovery tale and the observation of the writers’ craft. For every prompt and narrative structural element of the monster story, we’ll talk about a different element of craft and how to approach it.
Janaya Kizzie writes horror stories and an occasional prose-style sonnet. Providence
inspires her often, and her career as an archivist often informs the historical elements in her creative work. She is particularly interested in genre fiction (especially historical fiction, horror and sci fi), interstitial fiction, small-batch self-publishing, and the places where writing meets other things, like visual art, music and film.
Rekha Rosha‘s work on the intersections of fiction and finance has appeared in anthologies published by Palgrave Macmillan and Cambridge Scholars Publishing. She has taught courses on American literature and composition at Boston University, Wake Forest University, and at Brandeis University, where she received her Ph.D. in English and American Literature. Her favorite moments
in the classroom were teaching “When Zombies Attack!”–a composition course that explored questions only the undead can raise about consciousness and identity. She is currently writing an early American noir novel about the violence of colonization in 1630 Boston. She lives in beautiful Pawtuxet Village.