Archive for the ‘people of color’ Category
It’s so easy to talk ourselves out of submitting our work. Rejection is painful. Even though I am a coach and a creative writer, I, too, find ways to ‘self-reject’ my work. It’s never a good idea. Always get your work under review, submitted, in the pile, seen. It’s a simple fact that if we creatives want to have an audience, someone has to read, see, or hear and experience our work. The only way we can do that is to submit our work to others.
In January, I taught a workshop called ‘Charting Your Path to Publication: Tips, Techniques and Lessons for Writers.’ An amazing group of writers came out to learn how to beat the odds of rejection when submitting to journals, magazines, etc. We talked about strategies to submit our work, the courage to send it out and the perseverance to keep going in the face of rejection.
I shared how inspired I was by a great interview with the writer Laurence MacNaughton on Mur Lafferty’s “I Should Be Writing” podcast. He shared that he struggled for many many years getting his fiction published. He had many cardboard boxes filled with rejection letters. When he moved into a new home, he decided to open up those boxes and count his rejection letters.
He counted and stacked up 100, 200, and 300 rejection letters. As I listened to the story, I held my breath. So many questions ran through my mind. How many did he have? Where was he going to stop? How many rejection letters did I have a decade ago? He kept on counting and found himself at 500, 600, and then 800 rejections. He stopped when he reached a 1000 rejection letters. He stopped counting them even though he had more letters! He felt so bad about it that he stopped temporarily writing. He felt like anyone who could amass 1000 rejection letters should not write.
He said that that not writing was really hard and that he soon came to the realization that writing was essential to his mission and purpose on the planet. It’s what gave him joy. He decided to write, no matter whether he was published or not. He kept submitting his work and soon after that sold one of his novels. He’s now a full-time writer.
I was very moved by this story as it reminds us that all we can control is what we send out and although we will inevitably get rejected, we have to submit our work. And, we have to find joy in the writing itself, no matter what the outcome. As Laurence says, “Rejections mean you are doing what you need to do, you just need to keep going.”
Recently, I almost talked myself out of submitting work. Last fall, I saw this call:
Octavia Estelle Butler was born on 22 June, 1947, and died in 2006. In celebration of what would have been her 70th birthday in 2017, and in recognition of Butler’s enormous influence on speculative fiction, and African-American literature more generally, Twelfth Planet Press is publishing a selection of letters and essays written by science fiction and fantasy’s writers, editors, critics and fans.
I got goose bumps reading this call. Octavia Butler is one of my favorite authors. I teach her work and her nonfiction essay, “Positive Obsession” is one that I credit for inspiration in pursuing my writing life.
I put it on my calendar to submit, but as the deadline approached, I found myself saying:
“Every prominent speculative fiction writer is going to submit something—I can’t compete.”
“I want to write about the impact of her nonfiction on me and her use of affirmations to boost her confidence. The editors probably won’t be interested in that.”
I was about to talk myself right out of submitting due to fear. I was going to self-reject. Thank goodness a writing friend messaged me with the link and said, “Hey, I know you’re a Butler fan, you’re submitting to this right?’
That little encouragement got me in gear. I decided to write the essay. I told myself, if it gets rejected, I can pitch to the speculative fiction magazine. Someone could want this essay.
I sent it off, pleased with the essay, but not expecting anything.
I’m thrilled to say that my essay WILL appear in the anthology. I am so honored to be in this collection. See details below.
Always give others a chance to evaluate your work. Never self-reject!
We are excited to announce the contributors of original letters and essays for Luminescent Threads: Connections to Octavia Butler. There are letters from people who knew Butler and those who didn’t; some who studied under her at the Clarion and Clarion West workshops and others who attended those same workshops because of her; letters that are deeply personal, deeply political, and deeply poetic; and letters that question the place of literature in life and society today. Essays include original pieces about Butler’s short story “Bloodchild” and whether we should respect Butler’s wishes about not reprinting certain works. All of these original pieces show the place that Octavia Butler had, has, and will continue to have in the lives of modern writers, editors, critics and fans. Our contributors include:
Michele Tracy Berger
Lisa Bennett Bolekaja
Mary Elizabeth Burroughs
K Tempest Bradford
Jennifer Marie Brissett
L Timmel Duchamp
Tuere TS Ganges
Stephen R Gold
Rebecca J Holden
Alaya Dawn Johnson
Aurelius Raines II
Amanda Emily Smith
Sheree Renée Thomas
Jeffrey Allen Tucker
Ben H Winters
K Ceres Wright
Luminescent Threads will also include reprints of articles that have appeared in various forums, like SF Studies, exploring different aspects of Butler’s work.
Luminescent Threads will be published by Twelfth Planet Press in June 2017.
L.C. Fiore’s writing inspires many and has earned him a dedicated fan base. He is an award-winner writer known to tackle tough subjects including domestic terrorism, immigration and most recently the unsettling 19th century history of America’s treatment of indigenous communities.
Critics and fans are raving about Fiore’s latest novel The Last Great American Magic, recently named Novel of the Year by Underground Book Reviews. This novel follows the great Shawnee warrior Tecumseh, as he struggles with encroaching settlers. Epic in scope, it is a compelling blend of historical fiction infused with magical realism.
Fiore is not a stranger to recognition and awards. His debut novel, Green Gospel (Livingston Press), was named First Runner-Up in the Eric Hoffer Book Awards (General Fiction); short-listed for the Balcones Fiction Prize; and long-listed for the Crook’s Corner Book Prize. His fiction has appeared in Ploughshares, Michigan Quarterly Review, New South, The Ottawa Object, and storySouth, among many others, and has been anthologized in Sudden Flash Youth: 65 Short Short Stories (Persea Books) and Tattoos (Main Street Rag).
I met L.C., last year, when I joined the board of the North Carolina Writers’ Network (NCWN). L.C. is the communications director of the NCWN. The NCWN is a nonprofit literary organization that serves writers at every stage of development through programs that offer opportunities for professional growth in skills and insight. I’m passionate about the work of NCWN. The expertise, camaraderie and mentoring that I have received as a NCWN member has been invaluable in helping me develop my writing craft and negotiate the ever changing field of publishing.
We discovered that we both enjoyed reading and writing speculative fiction. I picked up The Last Great American Magic after hearing several people praising it. I haven’t read much historical fiction and initially thought that my partner Tim would most likely read it. Tim and I often read books aloud to each other at night. I was hooked by the first paragraph! The characters are so vividly rendered and Fiore’s prose is so well-crafted, you want to linger on each page. It is a stellar and deeply satisfying read.
I wanted to know more about how he was able to bring Tecumseh’s story to life.
It’s is my distinct pleasure to welcome L.C. Fiore to ‘The Practice of Creativity’.
Tell us about your new novel, The Last Great American Magic. What inspired it and why did you want to write this book?
It’s an amazing story that has captured my imagination since the first time I heard it, as a child. The historical Tecumseh and his brother, who was known as The Prophet, came very close to assembling a confederacy of Native American tribes that might have beaten back the advance of white settlers and made this country an utterly different place than it is today. History, though, as they say, is written by the winners. I felt like this story—which has all the thrilling elements of frontier adventure, as well mythical and magical elements that ebb and swell as The Prophet builds his nativist movement—is one that should be more widely known. People tend to think of Tecumseh as a company that makes tractor parts. Well, he and his brother—in fact every Shawnee—deserves to be remembered for a whole lot more than that.
How did you get bitten by the ‘writing bug’? Did you always wish to become an author?
Honestly, I remember filling up ruled notebooks with drawn cartoons, before I could even write. So, I’ve always been compelled to tell stories. It’s sort of scary when I think about how old I am, and realize I was doing the exact same thing when I was four or five years old. That’s a long time to work on one’s craft. I should be better than I am!
What was the most interesting tidbit that you came across while researching the history of Tecumseh, a leader of the Shawnee nation, a character that undergirds this novel?
The character who kept threatening to steal every scene she was in was Rebecca Galloway, the daughter of a Kentucky judge whose love affair with Tecumseh (spoiler alert!) spanned years and years. She was educated, strong-willed, and open-minded in a time when there were very few opportunities for women. It was not an easy lifestyle on the American frontier. You had to be tough, and she was. But that toughness had an intellectual side: she taught Tecumseh to read and write. A character like that—a tomboy with no shortage of parlor-room feminine wiles—was fun to research and to write.
Is there something you want to say about risk-taking in your writing? You have a penchant for writing about very different types of people and communities.
Indeed. I’ve written about Muslim immigrants, working-class African-Americans, women, children, and rich, white men. The Last Great American Magic, of course, is written entirely from the perspective of a member of the Shawnee tribe, in the late eighteenth and early nineteenth centuries. I’ve never thought of writing about people different from me as particularly “risky.” As soon as a writer starts worrying about questions of permission, we’ve introduced doubt into the creative process, and as authors, we can’t afford any more doubt! As writers, our job is to create art honestly; and truthfully; and by avoiding stereotypes, tropes, and clichés; and in the process hopefully exhibit some mastery over our craft. Do I wish the publishing world featured more underrepresented writers? Hell yes.
What’s on your bookshelf, next to your bed (or in your e-reader)? What are you reading right now?
I’m listening to Edward Abbey’s Desert Solitaire on audiobook, and reading Owen Duffy’s The Artichoke Queen. Somewhat guiltily, I’m also reading Bloodline, a Star Wars novel by Claudia Gray, which follows Princess Leia and fills in the gap between movies VI and VII. I find I just love spending time in that universe.
What’s your best writing tip that you’d like to share?
The one thing no one ever really taught me, which took me years to learn, is that revision is the most important aspect of the writing process. Revision is not just checking to make sure everything is spelled correctly, or that you’ve used proper grammar. Revision also entails wholly re-imagining the way your book or story is constructed. That means exploding chapters, moving chapters around, consolidating characters, and much more. I find that usually, after my “first draft” (although there again, who counts drafts in real life?), whatever I’m working on usually sustains one, if not two, macro revisions, where I tear the manuscript down to the studs and rebuild. Why does no one teach revision? Perhaps because the workshop setting is a very poor environment for learning what it actually takes to be a writer, because there simply isn’t enough time to allow for the deep kind of revision that excellence requires. But extensive, substantive revision separates would-be writers from the pros.
L.C. Fiore is award-winning short-story writer and editor, his work has also appeared on NPR, TriQuarterly Review, The Good Men Project, and in various baseball publications. He is the communications director for the North Carolina Writers’ Network and lives in Chapel Hill, NC, with his wife and daughter.
Find out more about him and his work here.
One of the writing highlights of the year for me was traveling to the State of Black Science Fiction Conference in June. The SOBSFC brought together creators from different mediums (e.g. filmmakers, comic book artists, writers, producers, scholars, etc.,) to converge, discuss and share about the world of sci-fi and the Black experience over the past two centuries. There were panels on everything from Afrofuturism in Arts and Culture to Black Southern Folklore in Horror Literature. It was a mind-blowing experience.
I got a chance to hear and meet new authors. One of these authors was Gerald L. Coleman. I first saw him on the panel, ‘The Pinnacles and Pitfalls of Self/Small Publishing’ talking about being a poet and speculative fiction writer. He also spoke about how important it was for writers of color to value their work and find audiences for their work outside of (or in addition to) what mainstream publishers are willing to publish.
I was intrigued by his ability to write both poetry and speculative fiction, so I spoke with him the next day, at his table. After an engaging conversation, I knew I wanted to invite him to the blog to inspire us and share his writing wisdom.
Gerald Coleman is a philosopher, theologian, poet and author. His most recent poetry appears in, Pluck! The Journal of Affrilachian Arts & Culture Issue 13 (University of Kentucky Press), the anthology Drawn to Marvel: Poems From The Comic Books (Minor Arcana Press), and Pine Mountain Sand & Gravel Journal Vol. 18. He is also the author of the epic fantasy novel When Night Falls: Book One of The Three Gifts and poetry collections, the road is long and falling to earth. He is a co-founder of the Affrilachian Poets.
I’m delighted to welcome Gerald L. Coleman to The Practice of Creativity.
-Tell us about your recent book, When Night Falls. Why did you want to write this book?
When Night Falls, in fact the entire Three Gifts Series, is my homage to the genre I love the most. Fantasy, and specifically Epic Fantasy, has been my favorite source of reading material since I left comic books and entered the world of literature. Now, I enjoy philosophy and theology immensely, seeing as how those were my main areas of interest in undergrad and graduate school. But there is nothing quite like epic fantasy. I first read Tolkein at the age of twelve and never turned back. Swords, magic, dragons, and heroes on an epic quest have entertained me for hours and hours. While other people were reading Pride and Prejudice, I was reading Elric of Melniboné. While they were reading To Kill a Mockingbird, I was reading Dragonriders or Pern. While my friends were deeply entrenched in A Tale of Two Cities, I was flipping the pages of The Faded Sun Trilogy. Now, don’t get me wrong, as an English and Philosophy double-major at the University of Kentucky, I had to read all that English and American Lit too. But I always made time to read Science Fiction and Fantasy. I knew by high school that I wanted to write. By college I knew I wanted to write in my favorite genre. But what made me want to write this particular epic fantasy series, with these characters, is all about what was missing while I was reading all that SF&F from the time I was a kid. And do you know what was missing in Middle Earth, Melniboné, Kutath, and every other SF&F setting? I was. Now, I don’t mean me specifically. I mean characters who looked like me. African Americans were, generally, non-existent in science fiction and fantasy. We weren’t in the ancient past, the far flung future, or the speculative imaginations of the writers and readers of the genre. It was as if we had never existed. While I thoroughly enjoyed what I was reading I was also, always, painfully aware of the added intellectual leap I had to make as a reader to identify with the heroes and villains in the stories I was consuming. So it was abundantly clear in my mind that when I sat down to write my epic fantasy series that my characters would be a real reflection of the actual world. You know, a world filled with black and brown people, as well as white, Asian, Indian, and others. The world I am writing is filled with beautiful, strong, intelligent, and heroic people of color and women. It had to be. I want readers to have what I never did. So, When Night Falls has all the elements you look for in great epic fantasy. There are swords, fantastical creatures, magic, heroes, villains, but with a real representation cast of characters that should make it fun for any person who picks it up.
-How did you get bitten by the ‘writing bug’? Did you always wish to become an author?
I knew by high school. Having read so much, and been so impacted – so entertained – by what I had read, it became increasingly clear to me that writing was something I really wanted to do. There are few things in the world like sitting down with a book and being transported to all kinds of wonderful, strange, and magical places. Having experienced that, it began to dawn on me that I wanted to do that for others.
– You’ve written two poetry collections and are a co-founder of the Affrilachian Poets. Poetry is clearly one of your loves. What keeps you coming back to the form of poetry for self-expression?
Poetry was my entrée into writing. In high school, I began by writing love poems to girls I liked. By the time I reached college it evolved. As a freshman, I read The Autobiography of Malcolm X and that was a real sea change for me. It really began the process of my search for an understanding of what being an African American man meant and was going to mean for me. After that I consumed W. E. B. Du Bois, Frederick Douglass, Carter G. Woodson, Marcus Garvey, and every black intellectual I could get my hands on. I was already reading all the other stuff, by way of my university studies. Everyone from Plato, Aristotle, to Sartre and Derrida. But these other intellectuals, often left out the curriculum, were the real compass for me and my writing. My poetry changed and developed drastically. I still write about love. In fact, my latest poetry collection, falling to earth, is all about love, in all its forms. But the core heuristics of my poetry are about African American identity. And every time a black person is killed by police, or a black church is attacked or burned down, or the Supreme Court rules on issues like affirmative action, I am always brought back to poetry as a primary form of expression. I have also come to find that writing poetry and then speculative fiction, and then turning back to poetry, is a great way for me to stay sharp and keep the creative juices flowing.
-You have a graduate degree in theology. Do you feel that training shapes the kinds of themes you take up in your creative work?
I do find that my expertise in philosophy and theology helps to shape and inform my writing. I think it’s one of the things that makes my writing unique. I avoid it being heavy-handed or showing up explicitly in my writing. I think that would be terrible for the story. But in elegant and efficient ways, it’s there, grounding the story, and making the narrative stronger, and denser. I think it works best if it’s there without you really seeing it.
-What excites you right now about writing in the genre of speculative fiction?
I think the fact that I, and other African American writers like myself, are creating a library of speculative work that cures what has always ailed the genre at large for so long. How can you truly have great science fiction and fantasy when you leave out most of the human race in your story? That we are writing entertaining and powerful stories where readers can actually see themselves as heroes and villains is, for me, the most exciting thing about the enterprise we have embarked upon. The ability to give tweens, teens, young adults, and adults, the kind of stories we used to comb the bookshelves for in book stores is both rewarding and exciting. I hope the SF&F reading community can see how exciting this time is in the genre.
– What’s your best writing tip that you’d like to share?
Trust yourself. If you have a strong story and well-developed characters, then you can trust yourself to develop a story worth reading. Take chances with your story and write yourself in corners. Once you get there, then trust yourself to be able to write yourself out. I am working on book two in The Three Gifts Series right now (hopefully finishing in the next few months) and while I have the overarching narrative arc in mind I can’t allow myself to get caught up in all the intricacies of what I have yet to write. I have to focus on one chapter at a time and trust that I will be able to solve all the problems I create as I write. I think that makes for the most compelling stories. You can’t be afraid to create a difficult problem for your characters or your plot because you are worried you won’t be able to write a good resolution. Time and time again, I have trusted myself to think my way through those things and it always works out. The mind is an amazing tool and instrument. If you have fed it well it will always produce the results you need.
As an addendum, let me say this as well. Don’t rush. The worst thing you can do is let a deadline push you to write past some great writing. A chapter needs to marinate sometimes. And when you allow the story to develop at its own pace you will sometimes surprise yourself with what you are able create.
Finally, let me say thank you Michele for asking me to do this. It’s been great fun and I hope worthy of your interest and the interest of your readers!
Gerald L. Coleman writes both poetry and speculative fiction. He resides in Atlanta. Born and raised in Lexington, he did his undergraduate work in Philosophy and English at the University of Kentucky before completing a Master’s degree in Theology at Trevecca Nazarene University in Nashville, TN.
He is a lover of espresso, Radical Orthodoxy, Wittgenstein, early mornings on the golf course, and Lexington in the fall. He is a co-founder of the Affrilachian Poets.
Visit him here.
I am so happy to participate in the blog tour of new author, Audrey Mei. I’m grateful to Quanie Miller, a wonderful writer and blogger who helped bring us together. Given Audrey’s amazingly diverse creative practices that run the gamut of music, writing, health and science, I knew she would be a great person to interview. In our correspondence, we’ve discovered that we have many overlapping interests.
Audrey Mei grew up in the San Francisco Bay Area before studying cello and biological psychology/pre-med in Boston (New England Conservatory of Music/Tufts University). Following graduation, she received a Fulbright Grant for graduate studies in cello performance at Sibelius Academy in Helsinki, Finland.
Since 2006, Audrey has been dedicated to writing prose and poetry and has been published in Gangway Literary Magazine and Glimmer Train among others, as well as participating for several years in the Berlin English language literary scene. She is a world traveler at heart.
I’m delighted to welcome Audrey Mei to The Practice of Creativity.
-Tell us about your recent book, Trixi Pudong and the Greater World. Why did you want to write this book?
Trixi Pudong and the Greater World is a family saga that follows a Shanghai family through four generations, beginning in 1937. Alongside the family’s history of war, revolution, addiction, and migration, there is a twist of magical: a fairy, a fortune-telling goatman, and two brothers who never step off a rusty container ship.
The inspiration for this book came as I was researching my dad’s family history for fun. At the time, I was also living as a dirt-poor writer in Berlin. The ironic juxtaposition of everything my Chinese family had survived and the “privileged”-yet-poor artist life I was living in modern, cushy Germany gave me the impetus to write a book about how unpredictable the waves of history can be.
Also, my father is a natural storytelling genius. I felt that integrating his tales from Shanghai into a work of historical magical fiction would be a way for me to remember his stories as well as a way for them to potentially reach a wider audience.
-You have explored many wonderful professions in addition to writing including, being a classical cellist, a holistic healer, and a scientist. How have these other creative and intellectual pursuits contributed to your writing?
The single most important thing I’ve gained is the discipline of being a classical musician. Someone recently pointed out to me that classical music is the one artistic field which requires the highest investment in time, energy, and money for the least return in today’s economy. Where else do little kids practice hours a day, take expensive music lessons, take the “audition of their lives” to study at pricey conservatories, and spend five figures on an antique instrument… just for the slim chance at earning all that back in the vanishing classical music profession? It turns out that many music school graduates have taken their skills to innovative non-music jobs. A surprising number of tech workers in Silicon Valley, for example, are actually classical musicians.
Discipline is the greatest gift. I can’t say enough about it. Yet it is the one area where the most people fall short. Discipline is required to write, solve problems, continually improve, and mentally deal with the pain of critical feedback. Discipline is required to keep the mind free from destructive thoughts and to keep yourself focused on the highest level of quality you can manage.
The second skill I’ve gained through my experience is emotional awareness from working in holistic therapy for sixteen years. I listen to people’s stories, traumas, insecurities, and griefs. I follow their healing and their growth. I can’t be judgmental and I can’t be afraid of deep emotions otherwise my clients would stop seeing me. Therapeutic experience has also given me the “roadmap” of human motivations. Writing-wise, this helps me to create a stories that interweave motives and relationships that are rooted in true human psychology.
-Your book is being marketed as multicultural fiction. Can you share what this term means to you and why that’s an important distinction for this book?
It didn’t dawn on me that the term “multicultural” would be important in any way until I researched agents and realized, Wait, these agents would never, ever in a million years represent me. They all claimed to be interested in all genres of literary fiction, but early on, I got a strong gut feeling when I browsed agents’ client list and saw only your garden-variety white male (or female). And the only non-white authors being represented were invariably prison-camp survivors, Nobel laureates, or writers on “What it means to be [fill in ethnicity/disadvantaged class] in America.” The next stage of this realization came as I read agent interviews where they unabashedly declared their risk aversion to selling to an audience that they couldn’t relate to. In other words, there was a near-zero chance for a person like myself who is just telling a story.
But, as my writing teacher always emphasizes: The readers are out there. Unfortunately, as the traditional publishing industry has changed, world literature has fallen victim to the budgeting ax. It remains a question of reaching the right audience, but at the indie book level. Hence I saw how critical it is to designate a book properly to attract my target readers.
-What’s been the biggest surprise thus far in being published?
I’m astounded at how supportive other indie authors are. I’m also floored by how impossible it is for anyone with kids to write, publish, and market a book with no child care. I started writing Trixi Pudong in 2009, pre-parenthood. My daughter was born in 2014, and my writing screeched to a complete standstill. Without my mother-in-law donating 20 hours a week of babysitting, I simply wouldn’t have a book out. Period.
– What do you say to yourself on days when the writing feels especially difficult?
Just wait. What goes down must come up again.
I’m very strict about this, to not put pressure on myself. I don’t work well under pressure. I would just produce garbage. But when inspiration comes on its own, it really flows and the process is nearly effortless. It’s therefore more important for me to find ways to let the inspiration flow. A meditation practice — being able to empty my mind to allow for ideas to emerge, aka “listen to your heart” lol — has been my best resource.
– What’s your best writing tip that you’d like to share?
This is going somewhere, I promise: My dad is a retired professor of computer science at the University of California, Berkeley. For a while decades ago, UCB topped even Harvard as the country’s best university, and this was because of his department. So he’s a pretty esteemed individual in his field (just don’t ask me anything about it!). At conferences and events, fellow professors and former students flock around him. I’ll never forget what some of his former grad students related to us at his 80th birthday celebration. According to these students, my dad always told them that, in the face of doubt:
Never compare yourself to anyone else.
Remember that no one else can do what you are doing.
Thank you to Michele for giving me the honor of guest-posting on your blog! You can find the rest of my blog tour schedule here.
Pavarti Tyler is an adored writer and publisher. Under the moniker P.K. Tyler, she writes speculative fiction and other genre bending fiction. She’s published works as Pavarti K. Tyler and had projects appear on the USA TODAY Bestseller’s List. She also created Fighting Monkey Press.
IndieReader has said this about Pavarti: “Tyler is essentially the indie scene’s Margaret Atwood; she incorporates sci-fi elements into her novels, which deal with topics such as spirituality, gender, sexuality and power dynamics.”
I know Pavarti because I’m one of the 22 authors in her recent Uncommon Origins: A Collection of Gods, Monsters, Nature and Science anthology published through Fighting Monkey Press. This is the second UnCommon anthology that she has published, beginning with UnCommon Bodies. She is currently reviewing manuscripts for UnCommon Minds.
Not only was I delighted to have my work accepted for UnCommon Origins, I was thrilled to become part of Pavarti’s community of writers. Leading up to the launch for UnCommon Origins, Pavarti mentored and supported us in learning about marketing, branding, and finding audiences that would love our work. I learned so much! I also got to interact with authors involved in UnCommon Origins and authors from UnCommon Bodies and other projects that Pavarti has brought to fruition. She’s nurtured a group of writers who are incredibly generous and supportive of each other. As I noted in an earlier post, the launch for UnCommon Origins was incredibly successful and continues to trend on Amazon. Pavarti knows both art and the marketplace.
I recently discovered one of her other series: Mosaics: A Collection of Independent Women. This collection is ambitious in scope and features a diverse group of self-identified women writing about intersectionality (e.g. how social categories of race, class, sexuality, nationality, etc. come together simultaneously to shape both privilege and power). Pavarti has recently released the second Mosiacs collection with its multi-faceted look at the history and culture surrounding femininity: “If gender is a construct, this anthology is the house it built. Look through its many rooms, some bright and airy, some terrifying– with monsters lurking in the shadows.” This work offers readers poetry, essays and fiction, showcasing voices that don’t often get represented.
Profits from both collections are donated to the Pixel Project to end Violence Against Women.
I’ve written about intersectional theory, practice and methods as a scholar, so I was especially interested in this project. Mosaics is timely given the ongoing VIDA: Women in Literary Arts conversations about gender equity and the We Need Diverse Books movement.
I wanted to know more about Mosaics and Pavarti’s writing career. I’m delighted to welcome Pavarti Tyler to The Practice of Creativity.
-Tell us about the Mosaics collections. What inspired them?
Mosaics was a project conceived by Kim Wells. We decided to work together because our politics and philosophies are so in line. Both books were filled with stories the two of us hand selected for inclusion and that we believed brought something special not only to the literary world, but also contributed to the conversation about sex and gender. There has been so much controversy and misunderstanding about feminism and equality lately, we felt it was important to give voice to a wide variety of women and experiences on how gender intersects with issues of race, sex, and ability. In the end, we had so many amazing submissions we weren’t able to put together just one collection and had to expand the scope to two books. It was a tremendous amount of work, but work I’m exceptionally proud of as both an author and publisher.
– You’ve edited several anthologies over the past few years. What do you enjoy about being an editor? How was editing Mosaics different than your other anthologies (i.e. UnCommon Bodies)?
I’m actually not an editor. I’m lucky I’m able to spell my own name right most days. In all these projects I’ve worked as curator, coordinator, and publisher (and often marketer). I love the chance to bring together new voices and curate selections that stand up as individual works, but which also add something to the greater whole when seen in context of the collection.
-You manage to pack a lot into your day! You are a blogger, writer, editor and publisher. How do these activities feed each other and you?
I’m not sure if this question makes me want to laugh or cry. I do pack a lot into my days and I’m exhausted most of the time, but everything I do is done out of love and passion. A passion for language, for story, for the fundamental belief that it’s essential to the human condition to share experiences. Of everything, blogging is the one thing I don’t do consistently, only when something strikes my fancy or inspiration, but I do try to put up something every few weeks. While it’s not my primary passion, it’s a great way for me to connect with readers in a direct and personal way.
-Is there a story behind the name of your publishing imprint—Fighting Monkey Press?
Yes. My husband and our friends were ridiculous creatures when we met. I called the group of them my monkeys because of their penchant for climbing walls and jumping over things on rollerblades. They were also all on the fencing team. So when it came time to name my company, Fighting Monkey just made sense.
-Do you consider yourself a discovery writer (also known as a pantser) or outliner? Or do those categories not apply?
I plot, but I’m not a micro plotter. I use a 5 act structure and outline the basics of where I’m going and then beat plot a few chapters ahead of where I am before writing. The essential part of this for me though is the willingness to just delete it all if the characters take me in another direction. They usually know the story better than I do so I follow their lead. So I’m a plotter who sometimes gets swept away by my pants.
-What’s your best writing tip that you’d like to share?
Shut up. I know that sounds harsh, but there are only 2 rules for writing: 1 – Shut Up 2 – Write. If you can get past the first one, I believe everyone has a story to tell. So silence your inner critic, stop talking about the things you want to do, stop posting on Facebook about writing, just shut up and write.
Pavarti Tyler attended Smith College and graduated with a degree in Theatre. She lived in New York, where she worked as a Dramaturge, Assistant Director and Production Manager on productions both on and off-Broadway. Later, Pavarti went to work in the finance industry for several international law firms. Now located in Baltimore Maryland, she lives with her husband, two daughters and two terrible dogs. When not penning science fiction books and other speculative fiction novels, she twists her mind by writing horror and erotica. Find out more about her here.
Woo-hoo! A few weeks ago I did a cover reveal about my story that is in UnCommon Origins.
It’s now really here. The UnCommon Origins anthology launched this week and I am thrilled! Get it here!
UnCommon Origins: A Collection of Gods, Monsters, Nature, and Science
UnCommon Origins presents 22 depictions of moments on the precipice, beginnings both beautiful and tragic. Fantastical stories of Creation, Feral Children, Gods and Goddesses (both holy and horrific), and possibilities you never dared imagine come to life.
Including stories from some of the most talented Speculative Fiction and Magical Realism authors around, UnCommon Origins will revisit the oldest questions in the universe:
Where did we come from?
What comes next?
We even have our own book trailer!
My story, ‘The Curl of Emma Jean’ is about two sisters, race, fairies and the God Faunus. What more could you ask for?
My writing buddy, Fraser Sherman gave a thoughtful (and positive) review of the collection on his excellent blog. We already have over 50 reviews on Amazon! It’s also trending in the horror anthology Amazon category.
For three months, our publisher P.K. Tyler has been working on promotion and also teaching myself and the other 21 authors about how to launch a book. I’ve learned so much and I can’t wait to share some of my insights with you in another post.
If you like speculative fiction, you’ll enjoy this collection. It’s got something for everyone. Get it here.
Also, if you’re willing to provide an honest review on Amazon, Goodreads or your blog, within the next two weeks, contact me about getting a complimentary copy.
In other news, last weekend I attended the historic State of Black Science Fiction Convention in Atlanta. It was a mind-blowing experience. SOBSFC brought together creators from different mediums (e.g. filmmakers, comic book artists, writers, producers, scholars, etc.,) to converge, discuss and share about the world of sci-fi and the Black experience over the past two centuries. There were panels on everything from Afrofuturism in Arts and Culture to Black Southern Folklore in Horror Literature.
I even dipped my toe into SteamFunk cosplay for the first time ever. Loved it!
I plan on writing a blog post about attending this transformative con.
June is my birthday month and with this book launch and conference, it’s been a fantastic one so far. I hope your June has been offering you writerly goodness.
I first heard about Zig Zag Claybourne from an interview on The Dead Robots’ Society podcast. On the show, he talked about his latest novel, The Brothers Jetsream: Leviathan. It is a science fiction adventure that centers around two African-American brothers out to save the world. There are psychic whales, explosions, warrior angels, Atlanteans, and corporate conspiracies. I immediately thought, Whoa—way cool and original! Zig Zag was witty and offered great insights about building a writing life over a number of years. After his appearance on DRS, I knew I wanted to help spread the word about his work.
Prominent writer Dave Eggers has said about Zig Zag, “This is a truly original writer. He sounds like no one else, plays by no rules, and creates wildly entertaining books that create an indelible stamp on the mind.”
I’m looking forward to meeting Zig Zag, in person, at the upcoming State of Black Science Fiction Convention. In the meantime, I’m delighted that he agreed to appear here at The Practice of Creativity.
Tell us about your recent novel, The Brothers Jetstream: Leviathan. What inspired it?
The Brothers Jetstream: Leviathan came from me wanting to highlight a book where black folks do what they’ve always done: save the world one way or another but get zero credit for it. I describe the book as Buckaroo Banzai by way of Ralph Ellison. It’s an adventure with heart, humor, and the coolest crew since Sulu and Uhura. The characters have been with me a long time. So has their battle against the False Prophet Buford. If you have two black brothers named Milo and Ramses Jetstream, there is absolutely no way they are not going to wage war against the status quo.
How did you get bitten by the ‘writing bug’? Did you always wish to become an author?
I took up writing before puberty. I loved reading, not just science fiction, everything. I was the kid who got excited when the teacher assigned Hamlet. One day my mama said I read so much I could probably write a story. That was the Pearly Gates opening moment for me! I wrote my first terrible short story (about aliens using humans as hunting dogs against other humans) and have been going ever since.
How do stories usually come to you? Do you start with a character? Setting? An image?
I usually start off with a feeling or a mood then dig deep to find characters and a situation to bring that mood to life. Jetstream, for example, was the feeling of the world being utterly ridiculous when you actually stopped to think about 99% of what we accept as daily life.
What’s the less glamorous side of a published writer’s life that aspiring writers often don’t see?
That makes me laugh! I haven’t found a glamorous bit yet! I don’t think aspiring writers realize that just because a writer gets to “the End” means the book is done. There are rewrites on top of rewrites, then there’s the marketing/publicity push which, for most authors (seeing as we’re generally solitary, quiet people – HA!) is as glamorous as a root canal. There’s still this feeling out there that folks get to write a book, dust their hands of it, and watch as the angels waft it heavenward. To quote Lana Kane from Archer: “Nooooooope.”
What’s on your bookshelf, next to your bed (or in your e-reader)? What are you reading right now?
There’s nothing better for me than finding a new author to love, so my bookshelf is a workhorse; I’m always adding way more than the max carrying load to it. Right now I’m reading a sword & soul epic called Woman of the Woods by Milton Davis, a YA fantasy called Basajaun by Rosemary Van Deuren, and am about to jump into the macabre with Victor LaValle’s The Ballad of Black Tom.
What’s your best writing tip that you’d like to share?
The best tip ever is care about what you’re doing. All else flows from that. If you don’t care, the readers won’t care, and if you’re writing under the assumption that your book is “good enough” you’ve already failed. For me the process of taking a book from idea to completed drafts is a lot smoother if I operate under the hope that a reader will feel what I’ve given them and appreciate the respect for them.
Zig Zag Claybourne (also known as Clarence Young) wishes he’d grown up with the powers of either Gary Mitchell or Charlie X but without the Kirk confrontations. (Anybody not getting that Star Trek reference gets their sci-fi cred docked 3 points.) The author of Neon Lights, Historical Inaccuracies, and By All Our Violent Guides (the last under C.E. Young), he believes a writer can be like an actor, inhabiting a delightful variety of roles and genres. As such, his work takes you where you’ve never been, but makes sure you have fun getting there.
Find out more about him here.