The Practice of Creativity

Archive for the ‘women's creativity’ Category

Like most writers, I love research. And, like most writers, research can send me down endless rabbit holes. For my novella, Reenu-You, I spent years researching viruses. Of course, only a sliver of our research ever ends up in the actual story. This means we have to make wise decisions about how much to research before writing (or while writing). Still, it is so much fun to deeply explore a subject and find details that will create emotional truths in our characters, or enliven our setting.

One of my early creative loves was fashion design. I can still recall spending hours sketching out designs and showing them to my mother when I was about eight years old. Living in NYC, it was easy to fall in love with fashion, as it is one of the driving industries and a style capital. My mother was incredibly savvy about clothes and my early interest in designing was often a desire to understand her aesthetic tastes. As I got older, I remember talking myself out of pursuing fashion design. I didn’t know anyone who was a designer, so it didn’t seem like a real career, just a glamorous dream. My inner critic told me that I didn’t sew very well and that I was horrible at measuring things. Yup, I already had an active inner critic as a pre-teen!

Anyway, our true loves have a way of sneaking into our stories. For example, Constancia, one of the two main characters in Reenu-You is passionate about fashion and is about to attend the Fashion Institute of Technology, for accessories design.

In 2014, I did NaNoWriMo for the first time and completed a draft of a novel where ‘eco-fashion’ plays an important role. I absolutely love this story and have been researching sustainable fashion or eco-fashion for some time.

Before doing research, I had heard of the downsides of “fast” or highly disposable fashion, but I now know SO much more. I love fashion and also want to be a responsible consumer.

Did you know that most of our clothes eventually end up in a landfill?

Approximately, 85% of the clothing we discard in the US is sent to landfills and incinerators.

And, no giving to thrift stores doesn’t solve the problem—most of what is donated is never used and also goes into the landfill: https://daily.jstor.org/fast-fashion-fills-our-landfills/

The fashion industry has historically employed some horrendously unequal labor practices; ones that often significantly impact women workers globally. It also contributes to environmental degradation.

The fashion industry is complex and there are lots of challenges associated with reform.

But, there are also lots of opportunities for change. That is good news and involves consumer advocacy, changes in corporate practices and also the rise of designers interested in sustainable practices.

Although, I’ve read a number of books and articles, on this subject, I hadn’t talked to anyone in the design world.

So, I was thrilled that during the weekend, I was able to attend a wonderful event hosted by the Abundance Foundation called Think Again: Fashion, Farming, Fiber! This event was designed to ask local and global questions about the fashion industry and sustainability. I got to hear from experts about how technology is changing how cotton is grown (to eliminate the need to dye it), and the rise of industrial hemp being grown in North Carolina. I also got to talk to a few designers about the way they use upcycled, recycled and local materials.

The evening fashion show on Saturday was spectacular and showcased a half dozen designers, in N.C., that specialize in eco-fashion!

The model in the video is wearing an outfit made entirely from post-consumer “waste”.

It was a great community event with lots of local kids participating. The models were a range of body types, ages and gender expressions, too.

I think the key to not letting research hijack your writing is to give it a time limit and also to keep writing. This event gave me a boost to keep pushing forward in the novel. Once I get through this draft, I can go back and layer what I’ve learned into subsequent drafts. No more research until this draft is completed.

How do you manage the research process for your writing projects?

 

 

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LOCAL PEEPS: This event combines everything I love–talking with other authors, activism, and women’s issues. I hope you consider joining us for what I believe will be an inspiring and lively conversation:


In her only appearance in North Carolina, national leader and former president of Planned Parenthood Cecile Richards will be in conversation with Michele Tracy Berger in The Fearrington Barn on April 15th at 2pm in support of her new memoir MAKE TROUBLE: Standing Up, Speaking Out, and Finding the Courage to Lead.
Tickets can be purchased through McIntyre’s Books: 542-3030 or online through their website.

I am absolutely loving her book and can’t wait to meet her in person!

As I frequently note on this blog, I am lucky to live in a community (a state even!) known for its writers. Anne Anthony is a writer friend that I know from classes, community shindigs and readings. We often like the same authors and comment on each other’s Facebook posts about writing advice.

I was touched when I read the inspiration for her recent co-edited book: The Collection: Flash Fiction for Flash Memory. It’s an anthology of flash fiction stories for adults who struggle with memory loss.  The inspiration for the book came after her mother passed away last February. As Anne has said, “[her mother] loved to read, but as her memory declined she switched from reading novels to reading short stories. She could have extended her reading life had she known about flash fiction (stories between 500 & 750 words).”

The Collection is not about memory loss (or aging), but it is a fine volume of 60 evocative flash stories that anyone can enjoy.

Anne Anthony is a full-time writer living in North Carolina. She holds a Masters in Social Work from the University of Maryland and a Masters in Professional Writing from Carnegie Mellon University. She’s been published in the North Carolina Literary Review, Dead Mule School for Southern Literature, Poetry South, Tell Us a Story, The Mused Literary Review, and elsewhere.

I figured after editing this major project, Anne would have some insights to share about the wonders and challenges of being a newbie editor. And, indeed she does!

I’m delighted to welcome Anne Anthony to The Practice of Creativity.

On Being a First-Time Editor
By Anne Anthony

I remember watching Mickey Rooney in the film, Babes in Arm, and his excitement when he decided to ‘put on a show’ to prove to his parents and those of his friends that these ‘kids’ could make it to Broadway.

I had a similar exhilaration at the start of the anthology project not because I was trying to prove something, but because I wanted to create a book that my mother would have enjoyed reading. Toward the end of her life, my mother lost the ability to hold on to longer plots of short stories and though she could read, she couldn’t follow a narrative from beginning to end.

Taking a good idea and turning it into an actual book was a journey of discovery for a writer who had never edited an anthology before. From writing the call for submissions, to their screening and review, sending out acceptances and rejections, to editing the stories, I learned five lessons for new editors.

  1. Hold to the Submission Guidelines

I’ve read hundreds of submission guidelines since I first began submitting my work. I try my best to follow those guidelines, but sometimes, I slip up. Once I submitted a flash fiction story to a journal which only publishes creative non-fiction. The editor informed me, kindly and politely, of my misstep and suggested a journal I might try.

So it surprised me when several submissions didn’t follow those guidelines. Many submissions were over or under the 500 – 750-word count limitation, or was a poem, or was clearly a memoir piece. I started yelling at my laptop, “Doesn’t anyone follow directions anymore?” which sometimes scared my old dog sitting at my feet. I gained a better appreciation for editors and their frustrations with submissions.

One writer submitted a strong story about a man encountering a beautiful, but quirky woman on the beach. Their conversation was witty and engaging and the only stumbling block to acceptance was the story’s 1000-word count. I loved the story so much that I took a shot at editing the piece down to 750-words. His response was respectful, Good try but I think the story loses too much at 750; 1000 words is more realistic,” but disappointing. I wished him well and sent him a list of the the top 20 flash fiction journals where he could submit his story. I truly wanted others to read what he’d written.

My advice to writers: pay attention to every detail in the guidelines or your submission will likely not be considered.

  1. Define Acceptance Criteria

The stories accepted met the acceptance criteria established prior to the screening phase of the book project. 1) a well-defined plot 2) strong writing 3) engages the reader from beginning to end.

The 81 stories that didn’t make the cut were rejected for several reasons, the least of which was weak writing. I recall wanting to read more of several stories — like the next 15 chapters. The writing was stellar and sharp, but writing 500 well-written words doesn’t mean you’ve written flash fiction. Some pieces were likely the start of a short story, a scene in a longer novel or novella, but it didn’t have the beginning, middle and end to make it flash fiction.

So, what is flash fiction?

Becky Tuch, the editor of Review Review, explained in one of her posts how ‘deceptively complex’ flash fiction can be.

“Part poetry, part narrative, flash fiction–also known as sudden fiction, micro fiction, short short stories, and quick fiction—is a genre that is deceptively complex. At the same time, writing these short shorts can be incredibly rewarding. Distilling experience into a few pages or, in some cases a few paragraphs, forces writers to pay close attention to every loaded conversation, every cruel action, every tender gesture, and every last syllable in every single word.”

As the editor, I gauged every word, every action written into these short pieces checking for relevance, tightness, connectedness from beginning to end. I asked myself: Is the metaphor used here necessary? Does it tie to the overall theme of the story? Is the writer inserting a metaphor that the character wouldn’t know to include? For example, would a five-year-old child describe a hot sunny day as ‘like lying inside a sun tanning booth?’

If you’d like to read more from Becky’s article, click here: http://www.thereviewreview.net/publishing-tips/flash-fiction-whats-it-all-about

  1. Check the Value of Every Word

The third lesson learned ties closely to lesson two.

Every word matters in flash fiction because of its short length.

While editing the anthology, I searched for places where writers used adverbs instead of strong verbs. Or questioned dialogue tags other than ‘said,’ (think: implored, sniffled shouted, screamed, yelled, well, you get my drift.) I’m a strong believer in the ‘invisibility’ of the dialogue tag — don’t call attention to it and consider eliminating it altogether if it’s clear which character is speaking. A reader should focus on the exchange between two characters and gather the tension or suspense (or whatever emotion is) by showing action.

For example, look at the difference in the two variations of the same dialogue.

Dialogue #1

“You never told me you were a man,” Helen shouted loudly.

“I’d thought you knew,” Billy whispered softly.

Dialogue #2

Helen stared at Billy standing naked in the shower. “You never told me you were a man.”

Billy reached for his bathrobe, “I thought you knew.”

In the first version, the writer uses unnecessary adverbs with dialogue tags which weaken the story. The second version gives the reader context with dialogue and no tags, creating a richer scene.

Colorado author, Eleanore D. Trupkiewicz, offers sound advice in her guest post, Keep it Simple: Keys to Realistic Dialogue (Part II) on Writers Digest.

“Beats of action reveal character emotions and set the stage far more effectively than an overdose of adverbs ever will.”

If you’d like to read more from more of Ms. Trupkiewicz’ guest post, click here:

http://www.writersdigest.com/editor-blogs/there-are-no-rules/keep-it-simple-keys-to-realistic-dialogue-part-ii

  1. Trust Writers to (Mostly) Know Their Stories

Several strong submissions required editing to tighten the writing in certain places. One writer had a terrific story that lead the reader down an unexpected path but in the last paragraph, the story lost its momentum. Our communication about possible changes turned into a delightful exchange when Caren consulted with her fictional protagonist regarding her story which had ended with him saying, “Hmm.”

Here’s what she wrote:

“…I stepped back from the scene for a while and came back and asked, “So Umberto, was that it?”  And he said, to me, “Yes. That was it…Until I heard Genevieve commenting on what had just happened.” I’m not kidding, you, Anne! That’s what Umberto “said” to me! I hadn’t “seen” anyone else in the parking lot until I “asked” Umberto about the ending of his story and Lo and Behold! Another character had shown up! I was surprised but I’m really glad that you inspired me to check back in with Umberto… and Umberto’s glad that I let the story continue a bit further.”

The change Caren made to the ending was brilliant and I truly believe came straight from her fictional character’s mouth.

And though writers know their stories, sometimes they don’t include everything they had in mind. One writer submitted a story about an older jazz musician who returned to the stage for one night. He described the jazz club, the musician, and the indifference of the crowd in such perfect detail that the scene could easily be imagined. But he missed a detail. He never mentioned anyone on stage with the protagonist and then suddenly in the middle of his story, a band appears. His response was telling and underscores the value of a critical eye.

“The entire time I was writing the story, I pictured a full band behind him [the protagonist]. I had several people read the story, including a fellow writer that usually finds my mistakes, and nobody noticed that.”

As an editor, it’s essential to not only look at what’s there, but also to check for what’s missing from the story.

  1. Rejection Really Can Be Subjective

As a writer, I’ve received rejection emails from journals using phrases like, “Unfortunately, this piece isn’t the right fit for us. Please consider us for future submissions.”

I’d learned six months into submitting stories for publication about a rejection wiki that offers examples of rejection letters from hundreds of journals. I discovered that rejection emails are organized in tiers: Standard and Higher Tier.

If interested in reading more, check out the link: http://www.rejectionwiki.com/index.php?title=Literary_Journals_and_Rejections

Until I edited this anthology, I didn’t believe the ‘boilerplate’ language used in rejection emails. What I learned, however, is that well-written flash fiction can be rejected because of the fit. An editor may look across the accepted stories as a whole, once she’s accepted several pieces, and notice the emerging heart of the book. A particular piece really might not fit.

The second sentence in the example rejection above also took on new meaning. Several strong writers whose stories I’d passed on might make it into the next anthology, if I decide to do one.

And perhaps that’s the final lesson I take away from this whole experience — editors really do want to publish good stories. It’s what delights our hearts

Anne at the book launch held on Reading Across America Day, March 2.

Linda Johnson, a member of the writing group I’m in, reading from The Collection.

A full house for book launch of The Collection.

Anne Anthony is a full-time writer living in North Carolina. She holds a Masters in Social Work from the University of Maryland and a Masters in Professional Writing from Carnegie Mellon University. She’s been published in the North Carolina Literary Review, Dead Mule School for Southern Literature, Poetry South, Tell Us a Story, The Mused Literary Review, and elsewhere.

In 2017, she was a cast member in the farewell performance of the Raleigh-Durham show Listen to Your Mother, in which she read her essay “In My Bones.” Her flash fiction, “Bathroom Break,” placed third in a Brilliant Flash Fiction themed contest. She is the co-editor of an anthology of flash fiction intended for readers with memory impairments, The Collection: Flash Fiction for Flash Memory (March, 2018). She is the owner of Anchala Studios, a micro press based in Chapel Hill, NC which selects projects appealing to broad audiences and which enrich the community.

Check out her book on Amazon:

https://www.amazon.com/Collection-Flash-Fiction-Memory/dp/0692991034/ref=sr_1_1?ie=UTF8&qid=1519046448&sr=8-1&keywords=the+collection+flash+fiction+for+flash+memory

 

 

 

 

I got to know Ashleigh Gauch last year through our connection being published in the ‘UnCommon’ anthologies by Fighting Monkey Press. In the summer, I invited Ashleigh to write a guest post sharing her insights about being an indigenous speculative fiction writer writing across communities. Ashleigh is passionate about writing and we quickly found ourselves having spirited late night conversations about speculative fiction, trends in publishing, our favorite authors, etc. via Facebook Messenger. That’s how I found out about her intriguing new novel, Covenant of the Hollow. [check out her pre-order special at the end of the post!]

Ashleigh Gauch is a Haida author living just south of her hometown of Seattle, Washington. She went to college for nutrition but found her passions lay not in science, but in the genesis of science fiction, fantasy, and horror.

Her aquatic friend Odin and feline companion Luna love to watch her work!

Her work has been featured in the online periodical Bewildering Stories, the Fighting Monkey Press collections UnCommon Minds and UnCommon Lands, the Manawaker Press collections Starward Tales and Starward Tales 2, and the online periodical Teaching Tolerance.

Blurb for Covenant of the Hollow:

Would you give up your ability to fear in exchange for your deepest desire?

Across centuries, the lives of two young women with vastly dissimilar ambitions collide.

Annalise Silva is a 21st-century nineteen-year- old mayoral hopeful in her small city. Between dealing with abusive parents and not being taken seriously as a candidate, she has a lot on her plate. When she investigates mysterious prophetic dreams, she discovers an extradimensional alien who offers her the office in a swap for her fears.

Elizabeth Bathory’s noble birth in 1500s Hungary did not guarantee her happiness. Needing help to catch a husband to secure her family’s position, she accepts the alien creature’s whispered promise of her place in history if she will gift him her inhibitions. She didn’t know she’d be branded as the most prolific serial killer in history.

With lives running in reverse and time running out, will their attempts to stop each other’s descent into madness via shared dreams succeed—before the creature destroys the world?

I’m delighted to welcome Ashleigh Gauch back to The Practice of Creativity!

 

– Tell us about your recent novel, Covenant of the Hollow. What are you hoping readers will connect to in this story? 

Covenant of the Hollow was both a challenge and a joy to write. It follows the twin stories of Annalise Silva, a nineteen-year-old Puerto Rican girl living in the fictional town of Qualicum, WA, and Elizabeth Bathory, the most prolific female serial killer in history. They encounter an extra-dimensional creature who promises them their greatest desires (consequence free) in exchange for their ability to feel fear. Given the constant state of anxiety in which many (dare I say most) women live their lives, such an offer would seem like the easiest decision to make in the world.

One of the things I really tried to capture in both story lines was the omnipresent feeling of powerlessness women feel even as they take steps to seize power over their own lives.

Annalise’s story was based in large part on interviews with a good friend of mine about her uncle and aunt and some of the problems their daughter faced after the family moved from Puerto Rico to the mainland U.S.

Although the cousin in question didn’t run for political office, they did face several of the situations in the book, including pressure from their mother to stay in the household as a caretaker rather than starting a life of their own and having to deal with their father being extradited back to Puerto Rico, leaving the family without a steady income.

Elizabeth’s story was inspired by the article in the collection Rejected Princesses on the historical figure. In it, the author suggested that Elizabeth may have committed atrocities, but not on the scale she was convicted for and not entirely without reason. Sadism or not, she was a widow from the highest-ranking family in all of Hungary who had to hold onto her lands, and the man entrusted with care of her family had his eye on her power. Taking on a familiar horror story from that point of view brought questions to my mind about what that would be like, and what it would be like to be told that the only value you had as a person, from birth, was what you could give to the court.

She has to face many hard choices, including dealing with post-partum depression and vulnerability following an abortion, dealing with her husband’s death and a near-immediate proposal from the man he had assigned their care to, and fears that her barony will fall to Ottoman invaders before she even gets a chance to see if she’s taught her son enough to succeed his father.

That claustrophobic there-is-no-way-out-of-this feeling is one MANY women face on a daily basis, and I’m hoping that my readers find a bit of themselves both protagonists.

-Your story moves back and forth in time between two main characters. Were there any challenges in plotting or characterization that you grappled with as you worked on the book?

Well, I can tell you this book converted me from a pantser to a plotter pretty quickly!

One of the big challenges came from having to change the historical events to fit part of the story I wanted to tell. For example, Elizabeth was 10 years old when she married Ferenc and had her first child at 12, possibly with a lover from the peasantry. Understandably uncomfortable with this, I aged her up to 14 during the opening scenes of the book when she woos Ferenc (a fact contested in various references) and has her abortion (also contested, some sources say she gave a daughter up for adoption).

As far as lining up the story went, I tried to allow the dream sequences they connected with and some of the base events happening in each of their story lines carry similar themes, so the transitions between chapters and points of view felt smooth.

One of the biggest challenges was making Elizabeth relatable. Most people have only encountered her story as the “Blood Countess,” hammed up for horror purposes with her bathing in blood and ripping pieces of flesh off her victims. Although some of those things were alleged in her trial, the historical accuracy was dubious for many of the claims listed. And beyond that, making a sadist relatable at all is a challenge, especially a feminine one.

Trying to showcase her struggles, her reasoning and internal debate for each choice she made, solved some of those issues, but the fact remains that many people struggle to have empathy with flawed female characters. I hope that my book can be another plank on that bridge.

-What was the most interesting tidbit that you came across while researching Hungary in the 1500s for your character, Elizabeth Bathory?

The first was that she and her husband most likely tortured girls together at first, and that he tempered her during his visits home from the war. That was a pretty big shock for me!

The second was that (again, changed in the book for story purposes) he was actually illiterate, while Elizabeth spoke over 4 languages, could read and write, and had a knack for governance. She really was a more educated and prepared ruler than he, and handled much of the court work in his absence. Her son ultimately failed as a successor because she was so afraid of having her power stripped she didn’t adequately prepare him to take over, which ended her bloodline as rulers.

-How did you get bitten by the ‘writing bug’? Did you always wish to become an author?

My first poem was published at 10 years old. It was about 9/11, and my teacher was so concerned about the contents she ended up calling my parents in for a conference. When she determined they hadn’t helped me write it (and didn’t even know about it), she sent it in to a youth writing contest and it ended up in an anthology.

From then on I wrote obsessively growing up, about anything and everything I could get my hands on. I even used the templates in the old version of Word to create a pseudo-newspaper I sent to my grandmother every month. The Storypaper. It had some running stories in parts and some complete ones, and she saved all of them before she died.

I wanted to be an author when I grew up from 10 onward, by my parents were the opposite of supportive. My stepdad thought that I’d be a starving artist if I went to college for creative writing, so I ended up majoring in nutrition when I got to school despite the fact they never ended up helping me pay for it. It wasn’t until some complications happened in school and I ended up bedridden for 2 years following a severe back injury that I picked up the pen again.

I will never put it back down as long as I live.

-What’s on your bookshelf, next to your bed (or in your e-reader)? What are you reading right now? 

J.G. Follansbee gave me an advance release copy of the third book in his Tales of a Warming Planet series, City of Ice and Dreams. I’m reading it for fiction, and a book called Focus: The Hidden Driver of Excellence by Daniel Goleman for nonfiction. I tend to read one of each at any given time.

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

Every project hits a stagnation period. A place where you’re stuck in the mud despite your best planning, where the idea of sitting down to write brings more pain than joy in your mind. Where you no longer know if the idea you’re working on is worth it, if any of it is worth it, and something shinier and prettier looks easier and beckons you away from everything you’ve done up until that point.

For Covenant, it was when a couple of people in my writing group told me that the concept couldn’t work and that I needed to completely change the way I approached the book. That horror readers wouldn’t dig it and it wasn’t sci-fi enough for the science fiction crowd, either.

Don’t listen to any of those voices, human or internal. Because the new shiny pretty thing will have the same swamp waiting for you, and another newer, shinier, prettier thing will beckon, and you’ll leave a stream of unfinished projects in your wake. Give yourself the gift of done, and even after the first draft is finished, the gift of time and perspective. It’s worth it, the work is worth it, and as an author, you’re worth it, too.

No matter what any of the voices say.

Ashleigh Gauch is a writer. Her first novel is Covenant of the Hollow.

Pre-order/Buy Link ($0.99 for the e-book until 2/22): https://www.amazon.com/dp/B079NNYRJZ/

Buy Link for Prequel (Diary of the Hollow): https://www.amazon.com/Diary-Hollow-Chronicles-Drowsy-Book-ebook/dp/B078RFBYW5/

Hi folks,

Wish me luck today as I am participating in the ‘Movable Feast’ event, in Winston-Salem, held by Bookmarks! Bookmarks is a literary arts nonprofit whose mission is to connect readers with authors. The Movable Feast event is one of their newer programs.

The event is basically like “speed dating with authors”! As an invited author, I will visit a table for 10 minutes, talk about my book/myself/my writing, then rotate to a new table for another 10 minutes and repeat. I’ll meet 10 tables in total and also will have a chance to socialize with folks before and after the event.

I’m 1 of 26 authors invited to this event! The audience has paid to be there (per table) and will be composed of book club members, their friends and the reading public.

I think this is going to be a very fun and very active event!

I’m very excited to talk about Reenu-You and to represent my wonderful press, Book Smugglers. I’ve got my pitch down and will make sure to leave time for questions. And, I’m looking forward to meeting the other authors in the lineup (some have been on the New York Times Bestsellers List!). Many of us will be attending dinner together after the event.

Bookmarks hosts the largest annual book festival in the Carolinas drawing 20,000 from 20 states in 2017; they host a Bookmarks in Schools program that reached 9000+ students in 2017; and they opened a nonprofit independent bookstore and gathering space in July 2017.

Fingers crossed, I will entice many tables to buy Reenu-You for their book club!

 

It was a busy weekend! My first stop was at High Point University. I was invited by the English Club to give a craft talk and also discuss the political and structural interests that led me to speculative fiction and Afrofuturism, in particular.

The thing is, I had never given a ‘craft talk’ before! I’ve given lots of academic talks, of course, and have also done several readings of Reenu-You, but never a craft talk. What goes into a craft talk? I found out that a craft talk is just what it sounds like—a writer talking about techniques and processes of writing.

I knew that the English Club would be marketing my visit for a broad audience, so I needed to keep in mind that not everyone would want to hear specific details about writing craft. I spent the last few weeks working on my craft talk.

In the end, I decided to focus the first half of the talk on the speculative media influences on my childhood and young adult years (e.g. the television show, Lost in Space, the Bionic Woman and the film Star Wars). I then talked about my desire to connect to characters in speculative fiction and media with backgrounds that were similar to mine or connected to African American history and for a LONG time how hard that was. By college I was trying to “write myself” into the text and I spent time talking about how during college I discovered both the African American literary canon and feminist speculative fiction! Toward the end of the talk, I then discussed more ‘crafty’ things like how much I love first person narration and why I chose to use two first person narrators in Reenu-You. The audience was composed of students, faculty and parents (it was family weekend!) and they were warm and asked great questions.

I’m so grateful to the students and faculty that brought me to campus.

Dr. Jenn Brandt and Dr. Jacob Paul, organizers of the events

students

Lauren (on the left) who introduced me at the reading and Molly who is the president of the English Club. They are amazing!

hpu2

On Saturday at Park Road Books, in Charlotte, I was on a fantastic panel put together by writer and publisher Nicole Kurtz. The panel featured Black women speculative fiction authors including Nicole, Alledria Hurt, Marcia Colette and myself.

On such a cold wintry day, we had a spectacular turnout. The audience was engaged and we talked about diversity in publishing, the possible impact of the films, Black Panther and A Wrinkle in Time for young people and pitched our books. We sold out of our books and several panelists and audience members made our way over to a local restaurant for talk and conversation. It was a truly wonderful and uplifting experience! We may try to replicate this panel at future sci-fi conventions.

 

I’m so excited to kick off Black History Month with these upcoming events:

Tomorrow, at Highpoint University, I’ll be giving a craft talk and then later will give a reading from Reenu-You and talk about Afrofuturism. The reading and signing is hosted through their Phoenix Reading Series and will be from 5-6:30.

And on Saturday, Park Road Books, in Charlotte, is hosting a panel of Black women speculative fiction authors. We’ll be talking about our experiences, our work, why representation in publishing matters and also the implications of the film Black Panther.

If you’re local, I’d love to see you there!


Michele Tracy Berger

Michele Tracy Berger

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

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