91ĹÝÜ˝

Carleigh Baker is an author and teacher of MĂ©tis and European descent. Born and raised on StĂł:lĹŤ territory, she currently lives on the unceded territories of the xĘ·məθkĘ·É™yĚ“É™m, SkwxwĂş7mesh, and sÉ™lĚ“ilwÉ™ta peoples. Her debut story collection, Bad Endings, won the City of Vancouver Book Award, and was a finalist for the Writers’ Trust Fiction Prize and the Indigenous Voices Award for fiction. Her short stories and essays have been translated into several languages, and anthologized in Canada, the United States, and Europe. Her new story collection, Last Woman has been nominated for the Jim Deva Prize for writing that provokes (BC Book Prizes). As a researcher Baker is most interested in how fiction can be used to address the climate crisis. She was a 2019/20 Shadbolt Fellow in the Humanities at 91ĹÝÜ˝, where she sometimes teaches creative writing.

Carleigh’s advice for Writer’s Studio applicants

What are you looking for in your workshop group?

This space runs on mutual respect and open-hearted critique. If you're in, you're not just submitting work—you’re showing up with vulnerability, curiosity, and a readiness to grow (and help others grow too). Autofiction isn't just writing; it's soul-mining. We come together with different cultural contexts and different lived experience. That deserves care and honesty. You don’t need to be polished—you just need to be real. I expect critique that’s sharp but generous. And when it's your turn to get feedback? Come with your defenses down and your ears open. Online workshopping is a little different than in-person but it also happens to be my favourite way to work. I am there to support and empower you.

What do you look for when reading an applicant’s submission?

It might sound simple, but I’m impressed by stories with a clear beginning, middle, and end. Beginnings set up reader expectations, middles guide us through the conflict, and endings provide a satisfying sense of closure. I’m particularly impressed by thoughtful and carefully considered endings. I appreciate crisp, efficient language. I love to see writers who understand that they are in a relationship with the reader, which means communicating clearly. Writers who take stylistic risks. And while this is certainly not necessary, I love to see stories with a sense of humour. 

What excites you about being a mentor, and what would you like to focus on with your students?

It’s impossible to avoid the solitary aspects of writing. Much of our time is spent alone, clacking out words and that’s fine. But workshop is where the real magic happens. We get out of our own heads and into the heads of our peers. We learn about craft in the best possible way, by reading, analyzing, and discussing. We enjoy the inspirational energy that comes from being seen. That moment when a writer stops asking for permission and starts trusting their instincts. I could not be more of an introvert and yet I always leave a workshop feeling refreshed and excited to return to my manuscript. I love helping other writers through this process. 

Short stories tap into a particular skill set, so we will focus on how to tell an engaging story with crisp and efficient language. Autofiction offers its own challenges, and we will focus on how to shape real-life experiences into a compelling story arc. Chase clarity and strangeness at the same time. And above all, we’ll keep each other honest. No pretension, no performance—just real talk and the joy of making something that matters.