The Practice of Creativity

Archive for the ‘women of color’ Category

I am excited to share my first experience co-hosting a podcast! I love the Writer’s Well: Conversations about writing from craft to wellness podcast with Rachael Herron and J. Thorn. Rachael Herron and J. Thorn are friends and full-time writers and they share observations about the challenges and joys of the writing life. Each person poses a question to the other; it’s an unscripted and fun process. I’ve been listening to them for about two years. I really enjoy how supportive they are of each other and their larger community. The advice they give is invaluable and their warmth and affection for each other is joyous.

I’m in their private, once a month Mastermind group along with author Amy Taksuda. I’ve been in the group three months and like I say on the show, it is the best thing I’ve done for my writing life this year. They coach us on our writing challenges and Amy and I also brainstorm with each other. Our group has got great synergy. We were honored that they asked each of us to co-host an episode, with Rachael, during September while J was traveling. I jumped at the opportunity as I love the show and enjoy speaking on podcasts when I have the opportunity.

Rachael posed the question to me: ‘How does physicality affect your writing?’ True to the show’s format, the question was fresh for me. We talked about yoga, writing routines, swimming, Zumba, staying healthy as a writer, outsmarting your inner critic and more.

Not having the question ahead of time and being spontaneous was a good practice for me. I often over prepare for most engagements and consequently can miss being present with what is actually happening. Don’t we all have control issues, lol? Of course, after the show I thought of all the additional things I wanted to say! But, you can tell from listening to our conversation that is was fresh, lively and surprising to each of us.

She made me feel so welcome. It was so fun and such an honor.

Check it out here when you have a moment!

 

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As you know by now, the country has lost one of the greatest writers ever to use the English language–Toni Morrison.

There have been several wonderful and poignant remembrances about her:

In the Paris Review: Creative folks (writers and a photographer) remembering Toni Morrison. Made me laugh and choke up. Fran Lebowitz’s memories about Toni are funny (who knew how much Toni loved dessert–can’t we all identify with that?) and poignant as she talks about Toni’s ability to forgive.This is how we all wish to be remembered by those who knew us well–as living big, full and messy lives and giving all we have to our art and each other. And, of course the peculiarities that our friends love about us.
(credit to Austin Kleon’s newsletter where I first saw the link)
https://www.theparisreview.org/…/20…/08/06/remembering-toni/

My wonderful AROHO (A Room of Her Own Foundation) friend, Cassandra Lane wrote a powerful homage:

And this from The New Yorker feature with several writers reflecting on Morrison’s legacy:

If it hadn’t been for Toni’s Morrison’s “Sula,” I would never have been able to write the book that is “Another Brooklyn.” If not for the many readings of “The Bluest Eye,” half of the books I’ve written for young people would not be in the world. So many writers, so many writers that are women, so many writers that are black know this to be true—because of Toni Morrison, we are. Because of her, I am.

—Jacqueline Woodson

(thanks to Heloise Jones for posting on her Facebook page)

I thought I would write a very short memory about Toni Morrison, one that I have been carrying around for some time. Well, it turned out a lot longer than anticipated. It’s really a beginning meditation on creativity, my alma mater, Bard College and being a student of color in the 1980s. It turned out deeply personal:

A different kind of Toni Morrison memory…

I discovered Toni Morrison in the Language and Thinking program that was required of all first-year students admitted to Bard College. The year was 1987. ‘L&T’ took place a few days before the start of the semester and provided an opportunity for students to socialize and experience humanities classes in the traditional, intimate seminar style that defined Bard. I see myself then, a fiercely proud young woman, excited to be at Bard, but already feeling a bit off kilter by the extreme affluence and whiteness of the student body. [To give you a sense of this, Bard’s student body during the years I attended, 1987-91 was around 900 students. I would say that at any given time there were about 50 or fewer self-identifying students of color. I remember 3 Black faculty on campus, one tenured, one a visiting professor and the other person was Chinua Achebe, who came during my junior year]. I remember being the only African American student in my L &T group of about 12 students. We had a wonderful instructor, a white guy, whose name is now lost to me who had us read different selections from novels during the week. Typically, the L&T professors were not Bard professors and I believe they brought much needed fresh perspectives and new texts into this endeavor.

On one of the days, the instructor had us read the opening pages of Sula. For those of you who have read Sula, you may remember that it begins with exposition of how Black residents in a small fictional town in Ohio came to occupy ‘The Bottom’. It’s beautifully written and deftly reveals the horror of disenfranchisement and segregation that marked much of 19th and 20th century America. I felt exposed and vulnerable, both as a reader and a student. Who was this writer to expose truths and ideas so deep that it cut to the core? I’m sure the teacher wanted to demonstrate how a writer could so thoroughly and expertly engage questions of history, community and identity in a few short pages. The educator in me is almost positive that he said that the author was African American. I don’t actually remember, but I know that at some point in the class I thought the author was white. I somewhere along the line, in realizing Morrison was Black, then turned my anger on her—how dare she write about these difficult things! How dare her that I have to read them? How dare the power of her words to completely refashion my psyche in the midst of a classroom, in front of strangers?

I’m not proud of this memory, but there it is.

[I was still coming out of my young adulthood pre-racial consciousness in wondering why there had to be a magazine like Essence, instead of one for ‘all of us’. I was slowly realizing that color-blind approaches didn’t work in confronting systemic oppression]

It was probably the first time that I so powerfully experienced being in a classroom being both hypervisible and also invisible because of the intersection between the text taught and my own subjectivity. I don’t remember saying one word during that class. Of the white students who did talk, I wonder of their experience. Did they have to treat the text as distant and almost ethnographic or did it shatter their ideas of America, too? Most of them did look at me at some point in the class to say something and what did they make of my refusal? Defiance? Ignorance? Embarrassment?

I am, of course, grateful to this instructor who had us read and think about Toni Morrison’s words. He went on to become an early champion of my creative writing. As an instructor now, I am very attentive to thinking about who is in the room when I am assigning various texts, especially fiction. I think about not just the analytical points I want the work of the text to do, but how will it land with students across their multiple and intersecting identities.

By sophomore year, I did embrace Toni Morrison and devoured her work. I have fond memories of summer vacations reading one of her books.

Toni Morrison-ness was also invoked in my creative writing classes. Although I graduated a political studies major, my true love was English and creative writing and I came very close to being a double major. In most of my creative writing classes, every writing assignment I turned in leaned toward ‘non-realism’ or speculative fiction. This was not always appreciated. And, trust me, at the time, few of my English professors (except one teaching ‘Women and Writing’) had heard of or read Ursula LeGuin, Margaret Atwood or Octavia Butler. Some of my writing professors, however, also struck me as fundamentally lazy in their reading habits. They did not appear to have read widely in 20th century African American literature. So, they would say things like…”you write so well, it reminds me of Toni Morrison.” This happened several times. I guarantee you that I did not write as well as Toni Morrison—it was just the only Black female author they had bothered to read. They weren’t reading Ntozake Shange, Gwendolyn Brooks, Paule Marshall, Alice Walker, Jean Toomer (male) and others whose work I was also consuming and trying very hard to emulate.

As much as I loved attending Bard, Bard for many students of color was a difficult place to exist socially, politically, and aesthetically.

In writing about Morrison, I see that I am also writing about how my generation of creatives of color (now in our late 40s or early 50s) were often not nurtured by our PWI college environments. Many of us were tokenized, our creative work often dismissed, ignored or trivialized. This is not necessarily news, but important for me to say at this point in my life.
We ultimately had to find our own role models and build our own canons. Toni Morrison, despite our rocky start became part of the bedrock of my canon. I love her work and when I can, I teach her novel, Love, to our Introduction to Women’s and Gender Studies class. Many fall in love with her right away and many have already read some of her work in high school or other college classes. Times do change, thankfully.

I will, like so many Black creatives, always be in her debt.

 

Nicole Givens Kurtz is a Renaissance person. She is an author, educator and publisher. I met her, several years ago, at my first local speculative fiction convention. She was warm, encouraging and knowledgeable about the changing face of publishing. She’s been a hybrid author since 1998.  At the time I didn’t know the profound impact she has had through her mentoring of other writers and being an advocate for diversifying the field of speculative fiction.

Kurtz is the published author of the futuristic thriller series, Cybil Lewis. Her short stories have appeared in over 40 anthologies and magazines of science fiction, fantasy, and horror. She is a member of The Science Fiction Writers of America (SFWA). Her novels have been finalists for the EPPIEs, Dream Realm, and Fresh Voices in Science Fiction awards. Her work has appeared in Sycorax’s Daughters, and in such anthologies as Baen’s Straight Outta Tombstone and Onyx Path’s V20: Vampire the Masquerade Anthology.

She founded Mocha Memoirs Press to provide more diversity in speculative fiction. She is an advocate for better and more diverse representation in speculative fiction and is a national speaker on these issues.

Nicole loves ‘weird westerns’ and has been publishing them for some time. She’s recently gathered them together in her dazzling new collection: Sisters of the Wild Sage: A Weird Western Collection.  I have not read widely in westerns or weird westerns, so I had no background in the genre when I read the collection. I immediately forgot this fact as I was pulled into the vividly described realities of Kurtz’s characters. These stories are mostly set in New Mexico around the 1900s, though some take place in the present or near future. Kurtz is a powerful storyteller, weaving in fascinating tidbits of history alongside powerful characters. These creative stories run the gamut of magical realism, horror and science fiction. I loved this collection and reviewed the work on Goodreads and Amazon.

Given that her new collection has just been published, I thought this would be a great time to catch up with Nicole. I’m so delighted to welcome Nicole Givens Kurtz to The Practice of Creativity.

Q: Tell us about your new book, Sisters of the Wild Sage? What’s in store for readers?

A: Sisters of the Wild Sage is a wild, untamed adventure into the American West that never was. It’s weird. It’s horrific. It will stick with the reader, long after they have completed the collection.

Q: This collection feels like it is reinventing the conventions and genre expectations of ‘weird westerns’ given its focus on the multifaceted lives of women of color characters, in particular. Is this accurate? What drew you to explore weird westerns?

A: The collection’s purpose is to share stories of those people who thrived and survived in the American West but didn’t get the same attention in traditional (and often inaccurate) westerns. Yes, it was intentional. I grew up watching westerns with my mother, so the genre is a part of my childhood, a part of me. My love of horror is why they’re weird. Additionally, so much of the Southwest for me, when I lived in New Mexico, felt otherworldly and foreign.  That comes through in the stories in collection.

Q: How did you come to writing? Did you always want to write or did you come to writing later in life?

A: I’ve been writing since I was a young child. Even when I couldn’t write out long stories, I would alternate endings to television shows in my mind. I remember being very young, no more than 6 or 7, playing with my dolls and crafting narratives based on what mom read to me that night or what I’d seen on cartoons.

Q: You manage to pack a lot into your day! You are a writer, educator and also run a publishing press. How do these different activities fuel your creativity?

A: All three feed into my ability to communicate ideas, both fictional and non-fiction. They require me to continue to look for different solutions to issues, both in story, and in real life, that fuels my creativity. They’re really three sides of a pyramid.

Q: If you could invite three authors (living or dead) to your next dinner party, who would they be and why?

A: If I could invite three authors to my next dinner party, I would invite Zora Neale Hurston, Sue Grafton, and Octavia Butler. Each of these women were stellar icons in their respective genres, and the opportunity to sit and listen, to soak up their wisdom and advice about the writing life would be life-altering for me.

Q: What’s your best writing tip that you’d like to share?

A: My best writing tip is to read as much as you can. It serves as a foundation for building your writing career.

Educator. Author. Mom. Nicole Givens Kurtz loves reading, writing, and anime. She enjoys reading works that promote women of color and futuristic settings. She also loves a good mystery. She started Mocha Memoirs to provide more diversity in speculative fiction. She’s also a scribbler of tales. She lives in Winston-Salem with her family. Learn more about her at Other World Pulp

 

 

I’m taking a break from my weekly post to share this interview that rocked my world and is worth a listen. It is led by Brooke Warner, author and co-creator of SheWrites Press and Tayari Jones, NYT bestselling author. Brooke interviewed Tayari during the recent Bay Area Book Festival.

Jones gives an incredible interview that details what happens when the publishing world gives up on you and how she not only continued to believe in herself, as a writer, but also thrive. She talks about writing her recent novel, An American Marriage and how she created characters and a story line that challenge notions of what makes a marriage and relationship work. She also discusses why she used fiction to explore the inequities of the criminal justice system and class dynamics in the African American community. It’s a compelling interview because Brooke is a fantastic interviewer who poses substantive questions and Tayari brings warmth, honesty and humor in sharing her writing journey. I found out about this interview because it was posted through the Write-Minded podcast. If you don’t know about Write-Minded with Brooke (and co-host Grant Faulkner), check it out–they offer a great format (e.g. writing actions and “green light” moments), they interview a wide spectrum of authors and they also provide inspirational writing advice. Listen to the interview here.

Hi folks,

A few weeks ago I announced that I am participating in Greensboro Bound, a new and amazing literary festival. The festival is May 16-19. All events are FREE, though for some workshops and talks you’ll need to get tix ahead of time including for Zadie Smith’s talk and the conversation between musicians Ani DiFranco and Rhiannon Giddens. The organizers have poured their hearts and souls into this schedule and have planned an incredible array of workshops, talks and panels across all genres that tackle subjects from climate change to yoga. There’s something here for every kind of writer. Take a look at the schedule here.

This is my lineup for Saturday, May 18. I’m psyched!

  • 10 am  The Real and the Unreal: Speculative Fiction  with Valerie Nieman, Michele Tracy Berger, and Jamey Bradbury.

Excited to meet Jamey. Thrilled to be on this panel with Val. She also has a new book coming out this summer which I can’t wait to read. To the Bones is an Appalachian horror/mystery/eco-thriller mashup. Doesn’t that sound cool?

  • 12:30 pm Writing as Intersectional Feminism. Feminist Conversation with Heidi Andrea Restrepo Rhodes, Michele Tracy Berger, and Cassie Kircher. Moderated by Jennifer Feather.

Wow! I live and breathe intersectional feminism as a women’s and gender studies professor and as a creative writer. I am really looking forward to this conversation.

  • 3:15 pm Afrofuturism with Michele Tracy Berger, Sheree Renee Thomas. Moderated by Gale Greenlee.

Sheree Renee Thomas is a writer, editor, publisher and pioneer in documenting Afrofuturism. I’ve admired her work for a long time, so I will try not to fangirl the entire time. I had the distinct pleasure of working with Gale (now Dr. Greenlee), a few years ago when she took my graduate class ‘Exploring Intersectionality: Theories, Methods and Practices of Social Change’. What a gift that she is moderating this discussion.

 

The last weeks of December were so hectic that I didn’t get a chance to post any reflection about my writing life in 2018. I wanted to take a moment and do that now I had an excellent year in terms of deepening writing relationships and sharing my work locally and regionally. I definitely was a public writer.

I had the good fortune to participate in several literary events where I talked about and/or read from Reenu-You, gave a craft talk about my writing influences and/or  discussed Afrofuturism. I loved connecting with potential readers and new audiences.

My reading at High Point University through the Creative Writing Program. I also gave a talk for the Creative Writing club.

Loved being on this panel with other Black women speculative fiction writers. Park Road Books was packed and everyone wanted to also talk about Black Panther’s release. Lots of energy was in the room.

The Movable Feast event, in Winston-Salem, is held by Bookmarks. Bookmarks is a literary a literary arts nonprofit whose mission is to connect readers with authors.
The event is basically like “speed dating with authors”! As an invited author, you visit a table for 10 minutes, talk about your book, etc., then rotate to a new table for another 10 minutes and repeat. I met with 10 tables and met many wonderful people in book clubs.

I organized this local event for spec fic writers which was a lot of fun.

I also gave my Charting Your Path to Publication workshop to several new audiences and developed a new workshop, “How to Level Up in Your Writing Life” that was very well-attended.

My efforts last year were focused on submitting my short story collection to various contests (that offer publication with the top prize) and submitting fiction to SFWA qualifying markets. I’m still waiting to hear about some of the contests. Fingers crossed, there will be good news. I submitted to a ton of places and I have gotten some really encouraging rejections and a request to send more work. Rejection still stings, but over time, if an editor likes your work and encourages you to submit, that’s the beginning of a working relationship.

One of my goals was to begin an author newsletter and I finally did so in August! I have a commitment to those in my writing community to share resources and inspire. I don’t know why I waited so long to start!

I also kept up my blog and interviewed some terrific writers.

Reenu You was eligible for the Hugo Award, the Nebulas and the Manly Wade Wellman Award for North Carolina Science Fiction and Fantasy which was pretty awesome.

Nussia, my novelette was released by Book Smugglers in July!

 

In terms of craft, one of the things that I learned was how to tighten the dramatic arc in every scene.

The things that didn’t get completed include:

a complete revision of my mystery

a first draft of the co-written novel that my sister and I are undertaking

There’s a lot on my plate for 2019.  I hope to share some really great news soon.

That’s a quick overview for me–what did you learn about yourself as a writer in 2018? What were some of your accomplishments?

 

 

I’m thrilled that author and friend, Jessica Yinka Thomas has stopped by to share her recent, and super successful, crowdfunding experience for her forthcoming thriller, How Not to Make Friends, a sequel to How Not to Save the World. Crowdfunding is often an overlooked and underappreciated opportunity for authors to raise their profile, engage with an audience and raise money for their passion projects. I’m inspired by what Jessica has accomplished and excited to learn from her!

 Crowdfunding To Launch Your Next Novel

 “I will publish my second novel by the end of 2018.” That’s the goal I set for myself back in April of this year. I began thinking about the best way to raise funds to self-publish How Not to Make Friends and to publicize the book. After consulting with numerous friends, including fellow authors and entrepreneurs, I came to the conclusion that the two goals could be combined through a crowdfunding campaign. Running an effective crowdfunding campaign is a lot of work with many pitfalls along the way. But, I found it to be a very effective strategy to raise $8,000 in 30 days while strengthening my fan base.

My initial goal was $5,000, enough to break even, covering the costs of the campaign, professional editing, cover design and the initial print run. I was very fortunate to raise that goal several times over the course of the campaign. I think a huge part of my success was having an existing fan base and incredibly strong support network based on the success of my first novel. Knowing that I would be primarily speaking to existing fans and friends made it a lot easier to reach out and ask for support. If you’re considering putting together a crowdfunding campaign to launch your next book, here’s what I learned from the process.

Build your network

The platform that I used, iFundWomen, estimates that about 2% of your potential backers will actually make a contribution. When I combined my personal contacts who might be interested in the novel (500), the mailing list I built from publishing my first novel (800), personal social media contacts on Facebook, Instagram and LinkedIn (4300), social media contacts through my novel Facebook page (1000), I had about 6600 potential backers. The estimate of 132 backers was pretty accurate, particularly considering the overlap in the various contacts. Every last one of the 103 contributors to my campaign were friends, fans or friends of friends.

 

Don’t depend on the kindness of strangers. In my experience, very few, if any of your contributions are likely to come from strangers who are browsing the crowdfunding campaign platform that you select. Before getting started, make sure you’ve built a strong network of friends and fans on social media, through your blog or website and in your email distribution list. Give your network a heads up that you are planning to launch a campaign before it kicks off to begin to generate some excitement.

Select the right platform

Picking the right platform to launch your campaign is critical. Kickstarter is the largest crowdfunding network out there but it has an all or nothing model. If you don’t raise your goal amount in the time frame you’ve set, all the funds are returned to the contributors. Kickstarter charges a 5 percent fee on projects that reach their goal. Indiegogo, one of the larger platforms gives you the option of all or nothing model or a flexible goal. Keep in mind that if you reach your goal, Indiegogo takes a 4 percent cut; if you don’t, the fee jumps to 9 percent. Most sites charge a credit card processing fee that’s around 3 percent.

I decided to go with iFundWomen, a crowdfunding platform for women led startups and small businesses. iFundWomen provides a supportive platform with a rich set of free resources from expert coaching to in-depth campaign management tools. Not only can you make your goal flexible, but they have excellent customer service where you can change the closing date or even the goal amount of your campaign with a quick email. Every month the platform reinvests 20 percent of their standard fees back into live campaigns. I was fortunate to be one of a handful of campaigns to receive funding from the platform back in September. iFundWomen charges a 5 percent fee.

Pick engaging rewards

For a novel crowdfunding campaign, there is a pretty compelling reward, the actual book, once it’s published. I offered several different versions of my new novel at different price points: $10 for an EPUB version of the book, $25 for personalized autographed copies, and $50 for personalized autographed copies of my first and second novel. I was pleasantly surprised that the most popular reward was at the $100 level, an opportunity to be listed in the acknowledgement of the book along with autographed copies of both novels. I used the themes of friendship and international exploration from my novel, naming the reward levels after translations of the word “friend” in different languages represented in the novel.

 

 

One of the rewards was a book club bundle, 8 autographed copies for a $250. I was surprised that no one selected that reward, but later realized that it would be tough for a supporter to get their book club to agree to read the book during the brief campaign period.

The reward that I was most excited to try out was the opportunity to name a character in the novel. I was thrilled that 5 people select this option at the $500 level.

Market the heck out of your campaign

The crowdfunding campaign is your opportunity to tell your writing story. It’s an opportunity to share what motivates you to write and what you hope your readers take away from your novel as a way to engage and inspire your network. Once you’ve got your campaign in place, it’s helpful to send it out to a few close friends, both to get feedback and also to secure a few key initial donors. You want to demonstrate some initial momentum when you first share the campaign with your broader network.

After that, the challenge is finding creative ways to regularly reach out to your network via email, social media, text and yes, even phone calls, during the campaign period. iFundWomen has a comprehensive tool that is an end-to-end campaign planner from putting together your pitch, to mapping your network map, to laying out your campaign goals, to planning each week of the campaign. iFundWomen’s coaches playbook was essentially my business plan for the campaign.

Don’t’ discount the importance of the video as part of your campaign. I resisted putting together a video for several weeks, thinking it would be too much work and wondering who would watch it anyway. I spoke with several friends who had completed successful campaigns along with the coach from iFundWomen who stressed the importance of the video. Some people prefer to watch a brief 2 to 3 minute video, others will scroll through your campaign text. It doesn’t have to be complicated. I worked with a fantastic local videographer through Iron Worx Media, to pull together a series of photos capturing my writing journey, overlaid with an audio recording. I got some great feedback on the video during the campaign and now it lives on my author website.

Follow through

The campaign turned out to be a very effective commitment device. I had 103 people expecting to receive copies of my novel before the end of the year! The campaign also provided me with the funds to move forward with two rounds of professional editing to polish up my novel. I had the opportunity to work with The Book Smugglers on development editing and with Lystra Literary Services on content editing. I was able to work with the very talented Jen Rhoton on the cover design. And I’ve now published the novel on lulu.com, my favorite print-on-demand publishing company.

The result was a beautiful product I have now been able to share with all of my crowdfunding campaign supporters. Last weekend, I autographed almost 200 copies of my first and second novel, over a long weekend, in the middle of a snow storm. I’ve started to see posts on social media from delighted fans and friends who have now received their long-awaited rewards. I can’t wait to hear what they think!

Jessica Yinka Thomas

Like many superheroes Jessica Yinka Thomas leads a double life. By day, she teaches social innovation and sustainable business at the Poole College of Management at NC State University. By night, she is a social justice novelist, author of the How Not to Save the World series. Jessica’s writing highlights her twin passions for technological innovation and for creating significant social change through entrepreneurial ventures.

Jessica’s iFundWomen campaign: https://ifundwomen.com/projects/how-not-to-make-friends

Facebook: https://www.facebook.com/jessicayinkathomas/

Instagram: https://www.instagram.com/jyinkathomas/

Website: www.jessicayinkathomas.com

 


Michele Tracy Berger

Michele Tracy Berger

Author, Academic, Creativity Expert I'm an award winning writer.

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