a FREE grassroots manuscript workshop for the trans, queer, Crip, & sick

a FREE grassroots manuscript workshop for the trans, queer, Crip, & sick

Buoyed by the success of kith crit: cohort one,
we’re back for cohort two!

WHAT TO EXPECT

Beginning at the end September, the sixteen members of cohort two will meet, in two groups of eight(ish) members, over the course of eight weeks for two hours a week. Within these sessions, poets, novelists, short story writers, essayists, playwrights, etc., will come together to challenge each other as writers; connect with other trans, Crip, queer, and sick creatives; and practice supporting others through the process of critique.

Crit work is care work. It is here that we’ll flex our constructive crit muscle by asking questions, sharing insights, and coaxing each other toward our best work. Together we’ll discover what hurts, what hinders, and what spurs us each back to the job. As we work across cultures, and genres, we’ll have the opportunity to reflect on our ideal audiences; our roles, and limitations, as critique participants; and best practices for responsibly, and effectively, guarding each other’s backs.

In addition to our weekly crit meetings, participants will have the opportunity to connect with members of both workshops (and cohort one!) through our purpose-built discord, and take advantage of ongoing discussions and workshops on process and craft.. 

Going into cohort two we’ve made two important changes:. 

  1. We’re opening the format up to welcome all writers regardless of their authorial intentions. There is no requirement that your project take the shape of a book.

  2. Second (and most exciting!), cohort two will be split across two smaller workshops of approximately eight members each. One, led by wim, will mirror the kith community at large (trans, Crip, queer, and sick); while Callie Jennings will offer transfeminine writers a space of their own. All applicants will have the option of being considered for either, or both, workshops. Both halves of cohort two will follow the same format, offer the same accommodations, the same access to materials, resources, etc., and offer the opportunity to meet and connect with all sixteen participants and both leaders.

Application Requirements

A brief statement outlining the reasons for your interest should be sent along with a sample of your writing to wim@kithbooks.com by August 31th These samples and statements will be used to help assemble a generative and reciprocally beneficial cohort. It is useful, where possible, to send samples of the work you’d bring in for critique.  

Reassurances & Reminders:

  • Your statement isn’t being judged for quality. Give us a way in and we’ll ask the rest.

  • For those who need, or love guidelines: Feel free to limit the body text of your email to ~500 words.

  • kith’s aim is to amplify and promote the voices of trans, Crip, queer, and sick creatives. Having been functionally or systemically prohibited from accessing writing workshops and programmes to this point places you more central to our mission, not less.

  • Applications for inclusion will be recorded as proof of eligibility. 

PLEASE DON’T SELF-REJECT. 

Selection Process

Applicants will receive an email in reply to their application with a series of questions regarding availability, expectations, access needs, and their hopes and anxieties about receiving critique. We’ll use these responses, along with the writing samples and statements of interest, to piece together a compatible team. A short list, and waitlist, of participants will be assembled by September 15th, with sessions beginning at the end of the month.

Access Information

If you have access needs (ie: voice recordings, large/friendly fonts, screen reader accessible files, etc) and are unsure if we can meet them, please get in touch. Likewise, if you have safety or privacy concerns about your participation, please also reach out. kith’s standing policy is to meet everyone, to the best of our ability, however they come.

wim blair (wim/he/him)
writer · reader · mother · hungry · scared [reversed]

founding editor of kith books
co-eic of corporeal & en*gendered alongside cora hermes

Callie Jennings (@aporianautics) is a trans writer, musician, & game designer based in Boston. She received the 2025 Zone 3 Editor’s Award, 2024 Stacy Doris Prize, and 2023 Bennett Nieberg Transpoetic Broadside Prize, and has work in Fourteen Hills, ANMLY, manywor(l)ds, Fruit Journal, and elsewhere. Her newsletter is at threemachineexpression.substack.com, and chances are she's dancing.

TESTIMONIALS

wim brings such a fresh perspective to my writing and gets me to think about my stories in a way I never would’ve considered, consistently elevating my work. If wim is editing your stuff, it’s sure to shine.”

— Alice Scott, author of The Practical Man’s Guide to Cheating Death
and You Are Not Your Bones & Lesser Misfortunes


wim has the ability to look at a raw, totally unpolished work of emotion that's little more than an unfocused rant, and zero in on its themes and resonant symbolism with a prospector's eye. Without wim's editing process and advice, I'd have four pages of venting and the continued belief I'm solely a fiction writer; instead, the world has
'Simulacring Myself.'"

Danielle Tamara Schatten, MFA

“Callie Jennings is a calm, grounding presence in workshop. She brings a deep understanding of form, repetition, and trans history to her projects and peer critique. Callie’s approach to workshop lends to creating a workshop space where everyone can learn from each other's strengths and build on each other's weaknesses. She is a genuinely kind human being who brings the same care she does to poetry to the relationships she builds around her”

Rayne Alarcio, Starving the Wolf (Bottlecap Press, 2025)

"wim provides a fresh perspective that makes the editing process constructive for the text and the author. I was intimidated about editing my first novel, so I'm all the more thankful for wim's patient, detailed feedback."

Rosalyn L
(Novella forthcoming!)

wim's editing insight helped me to see my work more clearly from the reader's perspective. Invitations to experiment with playing with tenses, formatting and word choices opened up ways to enhance my work and help the meaning of my words land more completely. wim's thoughtful engagement, questions and encouragement to both push through the places I was hiding and speak up for the words that felt finished has made me a better writer.”

Rebecca Wood, author of Multimorbid