Writers in Residence in Libraries in a Box

Introduction

BackgroundThe Writers in Residence (WiR) in Libraries project was an LSTA-funded pilot run by the Arizona State Library in 2016. The structure was based off of the Madison Bubbler’s Artist in Residence project and adapted for writers. After a pilot year in 2016 with 8 authors* hosted at 4 Arizona libraries, with over 800 patrons reached by the program, 98% of whom learned something new, the program at the Arizona State Library was refunded and is beginning a second year in 2017. After our success with the program we wanted to share what we learned with others.

This guide is a collection of lessons learned from running the WiR pilot. It is designed to be a starter guide to any library who is interested in creating a WiR Program in their library.

As this program has only been in existence for one and a half years, there are some areas where we make recommendations based on hypotheses formed from our experiences in the first year, but have not yet been tested. We have done our best to indicate areas where our recommendations are based on prediction rather than experience.

What is a Writer in Residence in Libraries Project?WiR is a writer’s residency adapted for a library setting. A library hosts and provides office space and a stipend for an author, and in return, the author provides writing instruction to patrons. Residents in our program were asked to spend 16 hours per week in the library. The residents provided 2 public writing programs per month, and for four hours per week they held one-on-one consultations, where patrons could book a 20-30 minute private appointment to discuss their writing.

Why should my library host a Writer in Residence?High Interest Level in Creative Writing

We found a found a surprisingly large demand for writing classes and programs. People love to write, and new self-publishing platforms have made writing and getting published more accessible than ever. People wrote thank you notes saying how much they loved the program and expressing their hope that the pilot would be continued. Not only is this program popular, but it means a lot to the people who participate.

Natural Partnership of Writers and Libraries

While libraries always stress the importance of reading as a key part of literacy, writing is a key component of literacy as well. Writing programs accomplish one of the library’s primary goals for the community. Libraries are also an important part of an author’s success, both in writing books and selling

*For clarity, in this document, I use the term ‘author’ when referring to professional writers, particularly the person you will host as your Writer in Residence. Patrons interested in writing are referred to as ‘writers.’

them. As virtually all published authors are avid readers, they tend to love libraries and enjoy working with them.

Why do professional authors participate in Writers in Residence programs?

Authors benefit from the program in several ways (beyond the obvious of the stipend). First of all, the residency provides a designated professional space for writing. Many authors write at the kitchen table at home or at a coffee shop. The residency gives the authors a professional space to work, and encourages regular, uninterrupted writing time. Secondly, the residency allows authors to connect with others in the writing community. Writing is often a solitary labor, and this program gives them an opportunity to easily build personal connections with other writers in their area. Lastly, many writers expressed that their own work benefitted from the one-on-one consultations; often, by coaching someone else on a particular aspect of writing, they were able to apply a more practiced eye to their own work in that area.

Project Planning

Identifying the Audience and Community NeedOne of the best ways to create a successful Writer in Residence program is to know your audience. Getting started will be easier if you already host a writing group or writing programs in your library, but it is not necessary to do so before trying a WiR program.

Knowing your audience will help you design the focus of the program. Are there a lot of patrons itching to write a mystery or romance novel? Teens often express an interest in Science Fiction or Fantasy writing. A community with a high number of retired patrons may have a special interest in memoir.

Generally speaking, authors* who have reached a professional level of writing and are traditionally published can provide significant assistance to any prose writer, even if a patron’s work is outside the writer’s genre. However, if you know ahead of time what your community is interested in writing, you can identify an author with that expertise, which can be of an additional benefit to your patrons.

Selecting your teamThe project team needed for a Writer in Residence project is small, as there is little administration. Most of the administration for the project is communication, scheduling, and marketing. Most writers teach and give writing workshops to provide a source of income in addition to their writing, so they will likely come prepared with ideas to teach, and they will independently run the one-on-one consultations.

When determining your project team, try to include a staff member who is familiar with the creative writing community. Creative writing is a hugely popular hobby, with its own community, practices, and subculture. In order to ensure the success of Writers in Residence program, it recommended that a subject-matter expert be included on the project team, either as the project manager or as someone to

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consult. If no one on staff participates in the creative writing community, consider identifying an advocate or partner who can inform you on terminology and common practices. Most writers love the library and are eager to assist a program that will help them. To find an advocate, look for local author’s associations, or check with your local college or university. These advocates can also help inform you of possible partnerships, and of major writing events in the area that you may want to have a presence at or may want to avoid scheduling conflicts with. Contacting published authors for advice is also an excellent resource.

Considerations when Designing the ResidencyLength of Residency

The length of an Artist’s residency can range from anywhere from one week to a year or more. The Writers in Residence project in Arizona was based off of the Artists in Residence program started at the Bubbler at the Madison Public Library in Wisconsin. They tested out 1, 2 and 3 month residencies, and recommended 3 month as the ideal length. Shorter residences can be restrictive because patrons are still finding out about the residency and the resident has usually just gotten adjusted to the rhythm of the residency by the time they leave. Our writers also agreed with the time length in their exit interviews—they found three months was enough to feel like they had gotten something done and they had made an impact. At the same time, three months was not overlong and that they were leaving at a point where they were comfortable going, but still engaged, rather than feeling like the residency was drawing on for a long time.

Longer residencies have not been tested in this program as of this writing. These could work, but the Arizona State Library opted against these, for two reasons. 1. Residencies do provide some interruption to the writer’s life and daily routines. The longer the residency, the more likely the writer will have conflicts in their schedule that will prevent them from doing the program altogether. 2. Multiple shorter residencies, as opposed to one longer one, allow for a diversity of viewpoints in writing instruction.

Large Programs vs. One-on-one Consultations

The Writers in Residence project has two major components: the large group workshops and the one-on-one consultations. Determine from the outset what your audience’s needs are to decide on a good mix of consultations vs. workshops. Our Phoenix libraries used 4 hours of consultations per week with 2 workshops per month, while Tucson tried 5 hours of consultations per week with 1 workshop per month.

In general, large group workshops tend to be of greater benefit to the beginning writers, who have been exposed to less writing instruction overall and who may not have a manuscript to discuss during a consultation. Group workshops allow far more individuals to benefit from a writer’s instruction in an

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hour or so than the consultations. Group workshops can also provide a structure for participants who are new and don’t know where to begin with writing. Workshops are a more familiar interaction for many writers, so it was easier to get people to sign up for a writing workshop than a one-on-one appointment. Group workshops also allow for patrons to interact, meet each other, and build a community around writing independent of the writer in residence.

One-on-one consultations tend to be of greater benefit than workshops to more experienced writers, who often have a manuscript and highly value the individualized critique they receive.

The evaluations showed that more people learned something, felt more confident, and intended to apply what they learned after having a consultation than after a workshop. The consultations are also a unique offering of this program; many other organizations offer free writing workshops, but many of our participants have commented that they have not seen a free one-on-one consultation with an author anywhere else.

Copyright Concerns

As writers make their living from what they create, be very explicit in the contracts about what content they will own vs. what the library will own when they are being paid by the library. You may request to retain the rights to some of the training content they provide, but do not ask to retain the rights to everything they produce during their residency, or it will lose its value for the writer.

The Arizona state library did not ask for rights to any of the content produced by the writers during their residency, including their training workshops. Many writers teach writing workshops in addition to writing as an additional revenue stream, and being able to reuse what they create for the library or being able to use content they created previously provides value to the writer. The primary value to the library is having the writer there to teach the content, rather than the content itself, so asking for the rights to the content or otherwise restricting what the writers were able to create and present was more likely to do more harm than good.

Selecting the WritersDuring a pilot year or for your first residency, it is often easiest to choose a writer with whom you have already had some experience and ask if he or she would be interested in participating in a residency at the library. Look at author programs or writing programs you have hosted in the past to find authors your library has already established a relationship with. Many writers who live in an geographic area get to know each other through meeting at various events and conferences. If the writer you are looking to book for your residency is unavailable, ask him or her for references, as it’s likely they know other authors who would be a good fit.

If you have not hosted an author before, look to other local libraries, schools and bookstores for recommendations.

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If your program begins to grow larger or grow in popularity, setting up a selection committee can help create an impartial selection process.

Nomination Process

In order to have a selection committee, you need a group of writers to select from. This year we tried a new nomination process by which librarians and members of the public could nominate local authors. We used a Surveymonkey survey to collect the nominations.

The success of our first year using the nomination process was shaky. We received a smaller number of nominations than we hoped, but we may adjust the process in future years.

Our initial round of nominations was only open for 2 weeks, and we are not certain how much the libraries pushed it out and made it available to patrons. The nomination form also went out 6 weeks after that Writer in Residence program wrapped up, because we did not know the funding status for 2017. In the future we will open the nomination form earlier, while the program is still in progress. The nomination forms are still usable if the program gets funded, and if it isn’t funded then loss of the nominators’ time is not that much.

Attachment 1 provides an example nomination form used by the Arizona State Library.

Who should serve on a Writer in Residence Selection Committee?

Members of a selection committee should be people in the community with knowledge of the library, as well as reading and writing for pleasure. It is ideal for them to be impartial, so try to limit or not include members of your library staff in the committee, and do not allow any writer who is nominated for the residency to be on the selection committee. When looking for members of your selection committee, consider librarians who work in a different system than your own, local authors who are not applying for the residency, staff at your local bookstore, library volunteers, members of English departments at local universities or scholars at a humanities organization. Try to get a mix of several different voices on the committee, and make sure it is not dominated by your staff.

Criteria for Selecting a Writer

Writing by its nature is subjective, so there is not a defined set of criteria to determiner an excellent Writer in Residence. Each library will need to decide for itself what is important in a WiR. However, when selecting a Writer in Residence, you may consider: selecting traditionally published vs. self-published authors, type of writing (fiction, nonfiction, poetry, etc.), teaching experience, and diversity. If you are hosting more than one writer in a series, consider what the two will offer and if it will be similar or different from each other, and what your patrons might be looking for.

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Implementation

First Contact with the WritersWe recommend initiating first contact with the writers through email, as most authors have an email contact on their website, and including a description of the program and an invitation to talk on the phone to explain the project. The writers in residence in libraries program is fairly different in structure from a traditional artist’s residency, so be prepared for questions. Most writers have been excited about the program once they have a full introduction. A template for your first email is included in Attachment 2.

First MeetingWe recommend an in-person meeting with the writer before the residency starts to discuss and schedule programming, show the writer where their space will be, and tour the library. You may also want to consider including administrative matters in this meeting, such as: parking, badging, and who their point of contact is. Consider including how the author will make up time if he or she gets sick at some point and can’t come in on one of their days. This is also a good time to go over contracts, W-9s, invoices or other accounting functions that will need to be taken care of during the residency.

Selecting WorkshopsWhen creating this project, we purposefully left the design of the workshops up to the authors. Many authors have a set of workshops that they regularly teach at writers’ conferences and the like. If you know what type of writing your patrons are interested in, you can ask the author to tailor their workshops to your patrons needs.

Workshop ideas to consider:

Attendees at writing events almost always want information on publishing, so including one or more workshops that cover traditional and self-publishing will likely be well attended.

Having handouts with further resources has often been appreciated. Patrons respond well to workshops that include generative exercises, where they spend some

time actually writing in class instead of just listening to someone talk about it.

While the State Library has yet to try this, another option for workshops is to have a connected series of workshops with a group signing up to meet several times over the course of the residency. In a traditional ‘writer’s workshop,’ participants bring in a manuscript to read aloud, or send out the manuscript for other members of the group to read beforehand, and then other members of the group provide feedback. If you know you have a dedicated group of writers in the library already, consider hosting a connected series of workshops that would cover one topic in depth over several weeks or months or create a true writer’s workshop in the traditional sense. An experienced facilitator is recommended for writer’s workshops, as sharing creative work with others can be sensitive and get into difficult issues, and members often need to be trained on how to give constructive criticism.

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One on One Consultation Scheduling and SelectionIn our experience, one-on-consultations took longer than the monthly workshops to gain traction, but once they were discovered, became more popular overall.

One on one consultations take place during the author’s ‘office hours’—4 to 5 hours per week in our case when patrons could come and get advice from the author on their writing. Set up a scheduling system so that patrons will know when the author will be available in the library and can book a 20-30 minute appointment with them. Patrons can bring some pages they would like the author to read, but it is not necessary. People who want to talk about writing without a manuscript can also come to learn.

In general, if times for one-on-one consultations can be consistently scheduled every week (e.g. 2-4 PM on Tuesdays and 5-7 PM on Saturdays) it will be easier for patrons to remember and access the service. Choosing two or more slots that may allow different audiences to come (e.g. one for those employed in 9-5 jobs, and one during the weekday) can also serve a more diverse audience, depending on your community. Realize that you will also be working around the author’s schedule, who may be juggling a day job or parenting in addition to writing and the residency, so try to be flexible as to when those hours will be.

Decide in advance how you will schedule consultations. Online sign-ups provide a convenient service to many patrons, but can leave out those who do not have easy access to computers. Paper signups avoid this problem, but make it difficult for individuals who live far from the library. We have had patrons drive half an hour to come for office hours only to find all the slots for the day taken by the time they arrived. Whatever you decide is best for your patrons, make it clear in all your communications how people can sign up.

One-on-one consultations get many repeat attenders. Decide what, if any, limitations you will place on consultation hours. If consultations become popular, you may need to limit the number of appointments patrons can sign up for and how far in advance they can book an appointment. You probably don’t want one patrons booking the next 16 appointments. We recommend only allowing one appointment per week per patron.

“One-on-one consultations”: Be aware of the language used to advertise the one-on-one consultations. Unlike writing workshops, this feature is fairly unique to this program and does not have a commonly known word for reference in the writing community (or not that we have found.) Our original language was “office hours”, which is a term adopted from the academic realm, but we found it created a lot of confusion for patrons, and many people did not come in and use the office hours because they didn’t know what they were. We are currently testing the term ‘one-on-one consultation’ in the hopes it will be clearer. Being explicit that this session can be used for a manuscript review has also been successful in reaching audiences. (We have not called them manuscript reviews because you can book an appointment without a manuscript.)

Creating Comfortable Spaces for Patrons and Authors

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Meeting a published author one on one can be an intimidating experience. Multiple authors reported patrons being so nervous that when they came in they were shaking. Because of the intimidation factor, doing what you can to make the consultations welcoming and inviting can go a long way. While the author will be mostly responsible for calming a patron’s nerves, selecting and adapting the environment to minimize intimidation is recommended. For consultations, we recommend a semi-private space for the benefit of both the author and the patron. A study room with floor-to-ceiling windows is often a good space that is quiet enough to discuss personal topics. Also consider having a chair outside or a clear waiting area if someone shows up for an appointment early—you don’t want the next patron to be listening in on someone else’s work being critiqued, and if there is no designated place for them to be, they are likely to just come into the workspace to wait.

You also want to make sure that you are paying attention to the author’s experience in a couple specific ways. Library staff are often accustomed to working in a public building, where any member of the public can come and go. Many authors will not be used to this type of working environment and have not experienced working with patrons experiencing homelessness or other difficulties. All the writers were happy to work with these patrons, but having them come in was a surprise for most. Authors were also unsure what to do if a patron would not leave, or decided to use the consultation as a confessional instead of using it as a time to learn about writing. While we have not had anything we would label an incident, giving your Writer in Residence a brief primer about the patrons they might expect to encounter can help them be prepared. Be sure to let them know that your staff is trained to deal with difficult patrons and if they are having a problem with an individual that is being disruptive or not following the guidelines of the program that they can rely on your staff for that instead of having to be an enforcer themselves.

PromotionThe Writer in Residence program can be marketed through the traditional means of library marketing—signs, flyers, bookmarks, notifications on the library website, press releases, and word of mouth sharing through staff and patrons. Look for local writing groups to advertise to at bookstores, university and college English departments, local chapters of national organizations like the Romance Writers of America, and through Meetup.com and other places to find writing groups.

We recommend purchasing additional copies of the WiR’s books for the library’s collections before the residency so patrons can check out the WiR’s books.

If you would like to use these promotional templates for your Writers in Residence program, please contact the Arizona State Library.

Monitoring and ControlStarting the Residency

Expect the program to start slow and grow over time. Most people will not be familiar with the concept of a one on one consultation with an author. Use large group workshops and other opportunities to advertise the consultations.

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Try to schedule your first large workshop early in the first month of the program to get people interested and familiar with the program.

Library Staff are great advertisers for the program. Make sure staff are up-to-date about the Writers in Residence program so they can recommend it to patrons who have questions.

If you are using paper sign-up sheets for consultations, make sure they are printed and easily accessible, or posted on the wall by the time the writer comes in.

Make sure to check in with the writer on their first and second visits. It’s good to regularly say hello in general, but the writer will likely have more questions at the beginning.

Be clear about what your accounting department will need in terms of an invoice, when the writer will need to submit one, any records of work that the writer will need to keep, such as sign-in sheets or evaluations, and what timeframe after submitting an invoice the writer can expect to be paid.

Have a good number of printed evaluations available and make it easy for patrons to submit the evaluations anonymously, either dropping them in an envelope outside the writing space or leaving them with a staff member at the desk.

During the Residency

Ensure you are regularly collecting evaluations and headcounts throughout the life of the program.

Check in at least monthly with your Writer in Residence to ensure the program is running smoothly and clarify any questions or concerns before they become issues.

Continue to regularly promote programs through social media and other mediums

When you are doing check-ins with your writer, be sure to ask about things that might not be going well or ask if they have questions. Sometimes difficulties that could have been easily resolved did not come to light until the end of the residency. This did not ruin the residency, but it could have improved the project mid-way instead of leaving it to the end.

One specific concern to check in on is that they are not feeling obligated to do more work than their contract requires. The authors are expecting to get work done in their time at the library when they don’t have office hours. Sometimes patrons do not respect this and try to extend their appointments, book extra slots, or have the writer read their work outside designated office hours.

When you check in with an author, make sure that they are getting their writing time in and ask if that is a concern. If not, great, but if it is, be clear that you support them doing what they have signed up to do and are not going to add extra work for them with no compensation. Be willing to stand up to patrons for them and be willing to enforce the rules and say no if it becomes a concern.

Ending the Residency

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Interview the writer in residence at the conclusion of their residency. The writers have worked closely with your patrons, and can give great insights into what your patrons are looking for. They are also well-equipped to tell you how to improve the program in the future. A template for exit interview questions for the writer is included in the attachments.

If possible, provide the writer with copies of the surveys you received. The comments can help them improve their teaching in the future.

Your current writer in residence is a great source of referrals for future Writers in Residence. Do not forget to ask for referrals before they leave.

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TimelineMonth 1 Month 2 Month 3 Month 4 Month 5 Month 6 Month 7 Month 8 Month 9 Month 10 Month 11 Month 12

PlanningPromotionResidencyEvaluation

Planning (Months 1-4): Author Nomination and Selection; Authors Contacted, contracts created and signed, workshops and office hours scheduled; Visual promotion materials designed

Promotion (Months 4-11): Program advertised in library calendar and other materials; Press and media contacted; Blogs, social media, and other tools used to promote program before and during

Residencies (Months 6-11): Writers in Residence spend 16 hours per week in library, providing one-on-one consultations 4-5 hours per week and 1-2 public programs per month

Evaluation (Month 8, 11-12): Interview Writers upon their departure from the residency; collect surveys, evaluate data and write reports on project.

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BudgetBudget Category Amount DescriptionConsultant Fees $4,800 6 months of $800/mo stipends for writers’

residenciesSupplies/Materials $1,000 Writing books and books by Writer in

Residence for CollectionServicesProvided by third-party vendor. Includes printing, subscriptions, maintenance, etc.

$1,500 Graphic Design and printing

TOTAL* 7300

Budgets will vary by library. When budgeting for your Writers in Residence project, be sure to consider:

Consultant Fees: The Arizona State Library provided an $800 monthly stipend for writers who had been traditionally published and lived in the Phoenix or Tucson area. This stipend may need to be adjusted based on your library’s location and the selected author. We highly recommend that if you plan to have a WiR program on an ongoing basis that you select one stipend level and do not change it, regardless of the author selected.

Supplies/Materials: Once you have selected your authors, you will likely want to add copies of their works to your collection so that people can check them out when they are a resident. You may also want to increase the number of instructional materials on creative writing that you have in your collection.

Services: The Arizona State Library invested in materials to brand the program, as well printed materials such as posters, flyers and bookmarks. Bookmarks tend to be the most popular, but be sure to make the program noticeable inside your library—many of our repeat customers found out about the program through posters and flyers.

Salaries: Personnel are not factored into this budget. That said, expect the project director or project manager and staff to be investing 10 hours per week on the project.

EvaluationPLA’s Project Outcomes survey tool was used to evaluate this project. https://www.projectoutcome.org/

For consultation hours, be sure to create an environment where surveys will be distributed and can be collected anonymously. Writers should have surveys they can provide to patrons, and those should be collected at an envelope outside the consultation space, or at a desk where staff can collect them.

Be sure to capture patrons’ open-ended responses either in survey form, through interviews, or other means. We included a section for comments on each survey, and the responses in the comments

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section were how we discovered how enthusiastically people felt about the program, which would not have appeared purely in the quantitative responses.

Further ideas for Exploration

National Novel Writing Month (NaNoWriMo)November is National Novel Writing Month, an international writing event, and one of the biggest writing gatherings in the world. Over 10,000 people in the Phoenix Metro area signed up to participate in 2016, pledging to write 50,000 words in 30 days. NaNoWriMo is founded on community building and the idea that it is much easier to take on this monumental task with a group of like-minded peers than it is to go it alone. There is a huge virtual presence with online forums, coaching from published authors, badges for word counts and more. In addition, local volunteers conduct events throughout the month to encourage participants in their region. The majority of these events are ‘write-ins,’ where participants gather for several hours to work on their novels together, sometimes participating in races, games, competitions and activities to help encourage them to keep going in their writing.

NaNoWriMo already has an established partnership with libraries called Come Write In. Libraries who host write-ins receive free materials and resources to be a host space for writers during the month.

Every November, libraries get an influx of writers, from the experienced to those who may be putting pen to paper for the very first time. Running Writers in Residence programs in concert with NaNoWriMo would be a great opportunity to further the relationships with NaNoWriMo participants coming into the library in November, and extend those relationships beyond the month into the future.

Group PublicationsIt can be a very rewarding experience for an aspiring author to see his or her words in a printed publication. Libraries are beginning to take on the role of a platform for content creation. One of the ways that libraries are doing that is by publishing a small run of a collection of short stories or other works written by patrons. Some libraries have hosted large-scale group novel-writing projects, while others have held local writing contests to assemble a yearly publication.

One option that would likely be gratifying to patrons is to produce a small print run of a collection with works from everyone who had participated in the WiR programs. The length of each work and methods of selecting the work would depend on the library. This kind of end product also encourages participants to produce a finished work, rather than just attend a workshop for theoretical knowledge.

Readings Hosted by the LibraryAnother way to allow writers to get their work in front of others is to host a public reading at the conclusion of the program or at a high point during the program. Readings bring together writers and allow them to get to know each other, and it also provides a platform for each author’s original work to be heard.

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Attachment 1: WiR Nomination Form Template

Writer in Residence Nomination Form

Author Name

Author's Notable Published Works, Awards and Accomplishments

Has the nominator had previous experience with the author?  Please explain.

Why do you think this author would be a good fit for the Writers in Residence in Libraries project? (E.g. previous teaching experience, connection to libraries, etc.)

Nominator

Nominator Contact InformationEmail:

Phone:

Author Contact Information (if Available)Email:

Phone:

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Attachment 2: Initial Email to Writer Template

Dear [Author Name],

My name is [Staff Member name] and I received a recommendation for your work from [nominator name and title, if applicable]. I work at [Library Name] I am the project manager for the Writers in Residence in Libraries project, a new project we are piloting at our library.

We are looking for writers who would be interested in a three month residency at a library in the [city name] area, from [month-month] or [month-month] of [year].

Here is the basic outline of the planned program:

The library provides a designated space for a Writer in Residence to work and research during a [x] month residency, such as a study or meeting room. Residents are asked to spend 16 hours per week in the library, and they receive a stipend of [$ amount] per month from the library ([$xxxx] total). The residents provide 2 public writing programs per month, and they for four hours per week they have open “office hours”, where patrons can book a 20-30 minute private consultation to discuss their writing.

We would love to offer you the opportunity to be one of our writers in residence at [library name].

Would you have 15 minutes to discuss this program with me over the phone on [date/time]? Is there a good number I can reach you at? Also, feel free to call me at [phone number]. Please let me know if another time would work better for you.

Thank you,

[Staff name]

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Attachment 3: End of Residency Interview Template

I’d like to start by just asking about your general impressions and experience of the program and what it was like for you.

What was the most valuable aspect of this program for you?

What do you think was the most valuable aspect for the people you worked with?

Tell me about the people who came in. (If needed, prompt with: ) What was their experience level? Did most people have writing they were bringing in? What was the ratio of repeat customers?

What was our relationship with the library staff like?

What do you think about the structure of the program? Is there anything that stood out as really valuable? problematic? (Space, office hours, time, balance between workshops/one on one, residency length)

Is there anything you would change about the program?

Would you recommend this to colleagues?

Would you be interested in doing a residency at the library again?

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