The Practice of Creativity

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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/

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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!

Hi folks,

One of the wonderful benefits of the snowstorm last week was the opportunity to curl up with my to-be-read list.

This isn’t the usual view from my porch.

I’ve been eagerly awaiting these two writing books:

Pep Talks for Writers

As many of you know, I am a fan of NaNoWriMo (National Novel Writing Month). So, when I heard that Grant Faulkner (executive director of National Novel Writing Month) published Pep Talks for Writers: 52 Insights and Actions to Boost Your Creative Mojo, I got really excited. I’ve been a fan of his work for several years. He frequently writes about the process of creativity and is the co-founder of 100 Word Story, a wonderful online literary journal. I’m really proud of my publication, ‘The Lineup’ that appeared last year in 100 Word Story.

What’s it about: Keeping you creative and inspired throughout the year.

Structure: Mini-essays with a call to action, exercise or tip at the end.

Style: Accessible and beautifully written; Faulkner threads his personal experiences and observations throughout.

Topics: It covers all the topics that plague us as writers: keeping going, the imposter syndrome, balancing work and family, building a creative community, giving ourselves creative permission. But Pep Talks for Writers also skillfully dives into the shadow areas of creativity, including envy, boredom and doubt. There are unexpected topics, too, like ‘The Art of Melancholy’ and ‘Sleep, Sleeplessness and Creativity’ that inspire and showcases Faulkner’s deep wisdom about the creative process.

Inspirational Nuggets:

How do you create?: There’s no such thing as the way to create good work; you just have to find your way.

Make Irritants into a Symphony: If we elevate the annoyances in our lives to the state of art, their oppressive powers are reduced or vanished…Redefining life’s annoyances is part of your artistic ninja training.

Using Your Life in Your Story: We bury some things deep within for a reason, and it’s anguishing to try to uncover them. We’ve all experienced painful moments, whether it was being rejected in love, getting bullied on the playground, or losing a pet. Those are perhaps the experiences that will give your stories the greatest meaning, so be brave, and dive into your own past to relive those experiences. It might not be easy, but sense memory is about going back to those moments, re-living the emotions, and then imbuing your character experiences with a similar kind of essence. Don’t shortchange your experiences. You have a rich life to draw on in your writing.

Hold Things Lightly: I have a paradoxical proposal for you: Take your creativity seriously, but hold it lightly…What does it mean to hold things lightly? It’s an attitude that takes work (hard work, ironically). It’s easy to get so serious about our creative work that it can feel like a life or death matter. We pin our self-worth on our ability to carry it out. But, in the end, it’s not a life or death matter. Creativity is necessary, yes. It’s a life enhancing force, yes. We want to maximize it, not minimize it, yes. But I believe each individual project has a lightness that needs to be observed. Otherwise, the light can’t get in to help the seeds sprout. Without lightness, the soil of your story is too hard-packed, and the ground isn’t loose enough for the seed to sprout.

Bottom line: This is book that you’ll return to again and again for its clarity and inspiration. You’ll want to quote many lines and share them with others.

I Should Be Writing: A Writer’s Workshop

Long before Mur Lafferty became a well-regarded speculative fiction author, she was known for her compassionate, funny and engaging podcast called, ‘I Should Be Writing: A Podcast for Wanna be Fiction Writers’. She has been hosting this podcast for ten years. Mur’s honesty about the ups and downs of the writing process really speaks to me. She’s very encouraging and a master at sharing tips on how to keep one’s self writing (and why it is important to do so). She periodically conducts interviews with leading authors and also an occasional feedback show where people can send in questions that she answers. She has inspired many people and has served as a model for some to start their own podcast about writing. Her new book, I Should Be Writing: A Writer’s Workshop was recently released. I just bought copies for my writing group.

What’s it about: Keeping your writing going; getting in touch with your inner muse and getting a handle on your inner bully

Structure: inspirational quote from a creative person opens the mini-essays; in the chapters, the inner bully and inner mentor comment on writing process; lots of writing exercises at the end

Style: Accessible, extremely personable and humorous

Topics: Writer’s myths, tools for writing, dealing with imposter syndrome, perfectionism, developing writing routines, ways to revise

Inspirational Nuggets:

One Million Words: Malcom Gladwell made famous the rule that to become an expert, you must spend ten thousand hours on your passion. It is also sometimes listed as ten years. Ray Bradbury said you have to write one million words of crap, get it all out of your system, before anything good comes out.

These numbers (ten thousand hours, ten years, and one million words) are arbitrary, and were created because humans like big, round numbers. The point is, excelling at anything takes a lot of work. It takes setbacks and learning and plateaus and frustrations and being absolutely sure you will never, ever publish anything. It takes looking at other people’s careers and thinking that they have it easy, that they are lucky, that they are perfect and you are crap.

The reality is, other people’s careers have likely had the setbacks and learning curves and plateaus that you’ve experienced. You just don’t see that when you look at them. You see their amazing book, their awards, and their long autograph line. You haven’t seen their years of struggling and haven’t read their terrible words that came before they published anything.

…It’s a long journey. And, yes, it’s been a long journey for nearly everyone you admire.

All Writing Advice is Crap: Writing advice is generally trying to bring across good rules of thumb, but it’s important to know yourself well enough to realize that when something doesn’t work for you, you’re allowed to try something else.

There is one piece of writing advice that you MUST follow: you have to write.

That’s it.

Perfection is the Enemy: Another thought on that perfection thing. Writing is subjective. This means that different people will get different things out of your story. So let’s say you manage to attain that mythical perfect story you’re yearning to write. You send it off in complete confidence. And, it gets rejected.

Guess what? The editor didn’t agree with you. It wasn’t perfect to them.

Let’s say the editor agrees with you! Buys the book! Sends it out to reviewers! And, boom, it’s eviscerated. It wasn’t perfect to the reviewers. Readers give it one star. It lands on the Top Most Disappointing Books of the Year lists!

So now you’re confused and unhappy because the book was perfect! What happened? Do they hate you? Is there a vast global conspiracy against you?

No. Because there is no perfect book.

Your work won’t get published if you wait for perfection. You write the best book you can and then you send it out and get to work on the next one. Don’t edit the book once you send it out. Don’t think about it. Just get back to work.

Chasing The Elusive Time Beast: I can’t fix your life for you and give you a magical hour to write. All I can do is tell you to take a hard look at your life and see where you can find thirty minutes. Ten minutes, even. Make a clear decision: what are you choosing to do—write or play games? Write or watch television? Write or sit waiting impatiently for an appointment?

Bottom line: Sage wisdom that makes for great reading. I love her frame of the Inner Muse and Inner Bully and how she uses each of those voices to illustrate issues in writing.

 

Most writers delay doing the one thing that concretely helps move them toward their goal of publication—submitting their work consistently.

No one knows about your work until you take that step of sending it out into the world.

Sometimes writers delay because they find the process of submission difficult, confusing and intimidating. They have trouble finding time to submit their work, finding venues for their work, and keeping track of submissions. Many writers don’t submit their work consistently, going through binge and bust cycles. They often don’t know how to build relationships with editors.

Sound familiar? Is this you?

I’ve found in teaching my ‘Charting Your Path to Publication’ workshop several times that many writers feel daunted navigating the submission process and often find themselves stymied by periods of rejection.

My workshop, Charting Your Path to Publication teaches strategies to beat the odds of rejection. Participants learn how to select markets for their work, track submissions, and find great resources.

I’m thrilled to be offering CYPP again as longer workshop this Saturday from 10am-4pm.

This workshop is designed for writers at all levels.

If you’re a local writer and interested in learning how to take consistent action to get your amazing work out into the world, this workshop is for you.

You’ll discover where to submit short literary and genre fiction, creative nonfiction and poetry as well as how to submit to agents and publishing houses. You’ll also learn how to compose cover and query letters (and the differences between them).

We’ll also spend time exploring the role of author mindset as vital to publishing success. There is no one path to publication, but we can follow and replicate the strategies of accomplished writers. You will leave with an action plan with concrete steps toward publication (or, if already published with a plan about how to become more widely so).

Charting Your Path to Publication, Saturday 1/20, 10-4pm, Pittsboro Campus

You can register for this workshop by calling the Pittsboro campus (919) 545-8048) or signing up online.

Feel free to email me with any questions! mtb@creativetickle.com

Keeping a gratitude jar is a symbolic act. As creative people, we have to take physical action in the world to pursue our dreams, I, however, also believe in utilizing symbolic acts of power. Symbolic acts of power are those that connect us to mystery, the unknown, serendipitous help and support, luck, and universal good. Symbolic acts of power can also free us from a constant focus on the mundane aspects of the creative life. Using symbolic acts of power can help boost our confidence, remain playful in the face of adversity, and develop trust in ourselves and the power of the universe.

For many years, I have kept a gratitude jar focused around my creative life. The idea is simple…get a big jar, write one thing you are grateful for at the end of the day and put it in the jar. The jar offers a visual touchstone of joy as you see it filling up with entries during the year.

At the end of the year, one of the things that fills me with delight is to go through and read my entries. I rarely get close to having 365 entries, but that’s OK. I definitely love reading about all the special moments that happened last year that I had forgotten. The majority of the entries relate to giving thanks for some aspect of my creative life going well. I was grateful that I had gotten a submission accepted, or someone had offered kind words on a reading I gave, or I had a day where good ideas seemed to flow endlessly.

The powerful benefits that stem from a gratitude practice are ones that science now validates and that spiritual traditions have always claimed. Noticing what is going well in our lives helps maintain our focus and contributes to our ability to be resilient. Gratitude also creates a kind of forward momentum in our creative life that is like rocket fuel.

The jar is now empty and I will start all over again. Last year was an anemic year for my gratitude jar. I tried to write too many entries at the end of the evening. I also started writing notes along with the gratitude entry—notes that would have been better placed in a journal.

This year, I am going back to the basics—one entry per day whenever I remember to do it.

What about you? Why not grab a jar and dedicate it specifically for your creative practice/life/ dream/goal? Or you can put something in the gratitude jar before you start work on your novel, book of essays, musical score, etc. List what you’re grateful for before you begin or end a project. There are many uses for a gratitude jar. There’s actually so much that goes right on our creative paths, if we just slow down and notice.

This is a practice that you will wind up loving for your creative life! Promise!


Michele Tracy Berger

Michele Tracy Berger

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

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