Alanna Lin Ramage is a writer, songwriter, and artist-in-residence at the Los Angeles Little Tokyo Branch Library, where she hosts innovative, community-building events and workshops at the Los Angeles Department of Writing and Power (LADWP!*). She has studied poetry with Thomas Sayers Ellis and poetics and performance theory with Jon Wagner and Mady Schutzman at California Institute of the Arts. Ramage composes original lyrics and music for film and television. This year sees the release of a cover album inspired by the Beatles in tandem with publishing her first collection of poems about monastery wildlife in Northern California.

A few years ago, in a fit by candlelight, I came up with a syllabus for a workshop called Alters/Altars. It was designed to help a person write and explore their way into an alter ego—the poetic self that feels its own voice and power while feeling all, but not revealing all.

In February of this year, thanks to support from Poets & Writers and the Little Tokyo Branch Public Library, I was able to teach a five-week version of the workshop in downtown Los Angeles.

One premise I was working with included the physical effect of writing as a physical act. For each class, participants would read their pieces aloud and receive positive feedback from the group. In some cases the reading would be formal, at the front of the room. On other days, I had readers stand in the middle of a group circle that echoed words or phrases as the story unfolded. One writer noticed that she read to a mostly quiet circle. She later commented that she realized she had to read "painfully slowly" to give listeners a chance to register her words more fully. She reread her piece to us and we happily listened to every word.

In another exercise, we gave alternate names to one another. The unspoken invitation was: “What name suits me in your opinion? What is my sonic incarnation? Do you really think it’s ‘Bubby?’”

The first workshop started with participants reading personal biographies or ads, and then writing fictional personal ads for someone other than themselves. The exercise allowed us to get to know each other while ascertaining each person’s unique writing style. Week two’s life stories were especially intense, offering glimpses into epic quests for love and destiny. Week three featured hypothetical after-life sequences from each person—revealing visions of beautiful, earthy, sublime, and often hilarious realities to come.

We had a dynamic, talented, and punctual group. It was a pleasure to discuss personal creative journeys, hear the mix of angst, frustration, wisdom, confidence, and steady determination that characterized each person. The group had great discussions about what makes a “healthy writer” versus what makes a “happy writer.”

My favorite session of the workshop included an assignment that asked participants to write about a sublime or transcendent moment. The results were diverse and fantastic. There was a great relationship-ending-epiphany story, an excellent dim-sum-as-travel-as-exploration-of-life story, a profound unity-with-wild-crustaceans story, and a stirring overcoming-self-while-overcoming-mountain story.

The session made me think about how creative anxiety can sometimes blind us to the larger themes we've experienced in life. It may keep us from sharing the stories we’ve already lived or from inventing stories that might express what we know.

So how do we move past this anxiety? Decide what themes are important to you based on your life experience. Once you have: Write on! (OK, that was a bad pun. I’m a workshop leader—it’s allowed.)

Writing alters you. Be brave and do the work; you just might tell a riveting story as you sacrifice your fears.

Photo 1: Alanna Lin Ramage; photo 2: Alters/Altars workshop. Credit: Alanna Lin Ramage and Anne Rieman.

Major support for Readings & Workshops in California is provided by the James Irvine Foundation. Additional support comes from the Friends of Poets & Writers.

Submissions are currently open for two essay prizes: the Notting Hill Editions Essay Prize and the Southampton Review’s Roger Rosenblatt Comic Essay Prize. The deadline for both prizes is May 1.

The Notting Hill Editions Essay Prize is given biennially for an unpublished or published essay. The winner will receive £20,000 (approximately $30,370), and five finalists will each receive £1,000 (approximately $1,518). The winning essays will be published in an anthology to be published in October 2015. The winners and finalists are required to attend the award ceremony at Kings Place in London on October 3, 2015. Travel expenses are not covered.

Using the online submission system, submit an essay between 2,000 to 8,000 words with a £20 (approximately $30) entry fee by May 1. Essays published in a print or online journal between January 1, 2014, and April 30, 2015, are eligible; essays published in a book are ineligible. Visit the website for complete guidelines. Eileen Battersby, Michael Ignatieff, Phillip Lopate, Adam Mars-Jones, and Raymond Tallis will judge. Watch a video of judges Ignatieff, Lopate, and Mars-Jones discussing the art of the essay at the 2015 Jewish Book Week in London.

Judge Michael Ignatieff won the inaugural prize in 2013 for his essay “Raphael Lemkin and Genocide.” The runners-up were J. T. Barbarese, Belle Boggs, Leslie Jamison, Andrew O’Hagan, and Sameer Rahim. Notting Hill Editions established the prize in honor of the English essayist William Hazlitt (1778­–1830). Devon, England­–based Notting Hill Editions exclusively publishes essays, and is committed to “the vital role essays have had in our literary, artistic, philosophical, and political cultures.”

The Roger Rosenblatt Comic Essay Prize, launched this year by the Southampton Review, will be given annually for a humorous essay. The winner will receive $1,000 and publication in the Summer 2015 issue of the Southampton Review. Patricia Marx, a former writer for the New Yorker and for Saturday Night Live, will judge.

Using the online submission system, submit an essay of up to 5,000 words with a $15 entry fee by May 1. On the journal’s website the editors write, “We won’t even try to tell you what we’re looking for. The comic impulse resists definition, and we like it that way. But if your comic muse has led you to an essay that you consider a match, throw caution to the wind and send it to us.” All entries will be considered for publication. The winner will be announced by June 15. Visit the website for complete guidelines.

Published twice yearly by Stony Brook Southampton, the Southampton Review publishes poetry, fiction, and creative nonfiction.