The Practice of Creativity

Posts Tagged ‘women of color

Tonya Liburd is a speculative fiction writer and poet. Tonya is having a fabulous writing year. She’s had several short stories published and one of her poems was nominated for the Rhysling Award given by the Science Fiction and Fantasy Poetry Association (SFPA). Her new story, “A Question of Faith” with Book Smugglers Publishing was recently released. [Another win for the Book Smugglers family! ]We’re in some of the same online writing circles and I noticed that I kept seeing her name pop up and her work mentioned. I read her essay, “Adventures in Gaming” in Mosaics: The Independent Women Anthology, and was blown away. The essay explores her experiences as a gamer spanning two decades and highlights the chronic misogyny, racism and homophobia that are endemic to gaming culture. I also am inspired by the fact that Tonya moves between writing speculative poetry and fiction. I wanted to know more about her work and writing practices.

I’m excited to welcome her to The Practice of Creativity.

-You write both speculative fiction and poetry. Can you tell us a little about your work?

Well, my first love is music; and I’ve been told that my writing leans on the literary side, and can be lyrical. I don’t have a favourite piece that I’ve done, because I have a good feeling about several pieces, but I do think the best thing I’ve written, craft-wise, is “Through Dreams She Moves”.  It made the longlist for the Carter V. Cooper (Vanderbilt) short fiction competition in 2015. Author Nisi Shawl uses my first ever published piece, “The Ace Of Knives” – which was reprinted as part of People Of Colour Take Over Fantastic Stories Of The Imagination Magazine – in her workshops to demonstrate “code switching”.  Last year a literary poem of mine, “You Don’t Want to Know Me”, won 4th prize in Ve’ahavta’s 2016 Creative Writing Competition, and this year my poem “The Architect of Bonfires” was nominated for a Rhysling Award. So here’s hoping I keep getting noticed for these things as I work harder on my writing!

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

Ever since I could remember, English has been my best subject. My mother encouraged me to write down things in a journal, so it would improve my writing skills. I remember knowing three things I could be when I grew up: a singer/musician, a writer, or an actor. Well, one of the three panned out!

-You are the Associate Editor of Abyss & Apex Magazine. What do you enjoy about this position? What lessons have you learned about being an editor that you apply to your own writing?

I enjoy finding new voices and pioneering new things – Like I did with Celeste Rita Baker and her story “Name Calling” – and I have learned SO MUCH, thanks to Wendy Delmater (editor and publisher), being so hands on. My learning curve is still happening. I have learned that a lot of my writing was, in first draft and edited by myself, fell into the ‘so close (but no cigar!)’ territory, and I got to see what that looked like, via submissions. I have learned that grabbing an editor’s attention and making everything tight from the get-go is crucial when dealing with the sheer amount of subs they have to deal with; and that’s an important step, learning how to tighten one’s writing. Ask me this time three years ago if I would say I could write flash fiction and I’d laugh right in your face. I wrote LONG. The first thing I seriously sat down to write outside of high school was a horror novel.

-What do you say to yourself on days when the writing feels especially difficult?

I go to friends and seek emotional and moral support, and in this case they will remind me -and I will try and remind myself – that some days are easier than others. But it’s hard sometimes to tell yourself that, and just having that validation outside yourself makes the negative thoughts easier to dismiss and the positive ones harder to.

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

Burning Paradise by Robert Charles Wilson, and Hunger by Roxane Gay are on my bookshelf. I’m reading The Bone Witch by Rin Chupeco on my kindle right now; so good!

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

Keep writing; make it a habit and it’ll come even though you don’t feel “inspired”. Edit, edit and edit some more!

 

Tonya Liburd shares a birthday with Simeon Daniel and Ray Bradbury, which may tell you a little something about her; and while she has an enviable collection of vintage dust bunnies to her credit, her passions are music (someday!) and of course, words. Her poetry has been nominated for the Rhysling award, and her fiction has been longlisted in the 2015 Carter V. Cooper (Vanderbilt)/Exile Short Fiction Competition. Her story “The Ace of Knives” is in the anthology Postscripts to Darkness 6, and is used in Nisi Shawl’s workshops as an example of ‘code switching’. She is the Associate Editor of Abyss & Apex Magazine. Check out her Inspirations and Influences essay about the story, “A Question of Faith” here. You can find her blogging at spiderlilly.com or on Twitter at @somesillywowzer.

 

Hi folks,

Today, I am thrilled to be featured on Graveyard Shift Sisters, a site highlighting Black women’s and women of color’s contribution to the horror and “dark fiction” field. I embrace the term speculative fiction writer and am increasingly embracing the fact that I often write stories that could be labeled ‘”dark fiction” and are in the territory of horror. I was interviewed by the amazing writer, Eden Royce and we went deep talking about creating characters that explore the bonds of friendship and sisterhood during adversity, what scares me (and how those fears fuel my writing), how to stay motivated as a writer and much more. I really enjoyed this interview. It was the first time that I was sent questions ahead of time, answered them and then had a follow-up conversation with the interviewer (Eden), to discuss my answers. Neat process.

http://www.graveyardshiftsisters.com/2017/08/black-women-horror-writers-interview.html

ALSO:

If you’re in North Carolina and close to the Triangle, I’m inviting you to come help me celebrate my first book reading and signing for Reenu-You on Saturday, August 26, 2pm at McIntyre’s Books, Fearrington Village in Pittsboro. I am so excited! I’ll read, share insights about staying inspired on the creative path, take your questions and sign books. There will be yummy refreshments and DOOR PRIZES. I look forward to celebrating this milestone on my writing journey with you.

https://www.fearrington.com/event/michele-berger-reenu-you/

 

I am so happy to participate in the blog tour of new author, Audrey Mei. I’m grateful to Quanie Miller, a wonderful writer and blogger who helped bring us together. Given Audrey’s amazingly diverse creative practices that run the gamut of music, writing, health and science, I knew she would be a great person to interview. In our correspondence, we’ve discovered that we have many overlapping interests.

Audrey Mei grew up in the San Francisco Bay Area before studying cello and biological psychology/pre-med in Boston (New England Conservatory of Music/Tufts University). Following graduation, she received a Fulbright Grant for graduate studies in cello performance at Sibelius Academy in Helsinki, Finland.

Since 2006, Audrey has been dedicated to writing prose and poetry and has been published in Gangway Literary Magazine and Glimmer Train among others, as well as participating for several years in the Berlin English language literary scene. She is a world traveler at heart.

I’m delighted to welcome Audrey Mei to The Practice of Creativity.

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-Tell us about your recent book, Trixi Pudong and the Greater World. Why did you want to write this book?

Trixi Pudong and the Greater World is a family saga that follows a Shanghai family through four generations, beginning in 1937. Alongside the family’s history of war, revolution, addiction, and migration, there is a twist of magical: a fairy, a fortune-telling goatman, and two brothers who never step off a rusty container ship.

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The inspiration for this book came as I was researching my dad’s family history for fun. At the time, I was also living as a dirt-poor writer in Berlin. The ironic juxtaposition of everything my Chinese family had survived and the “privileged”-yet-poor artist life I was living in modern, cushy Germany gave me the impetus to write a book about how unpredictable the waves of history can be.

Also, my father is a natural storytelling genius. I felt that integrating his tales from Shanghai into a work of historical magical fiction would be a way for me to remember his stories as well as a way for them to potentially reach a wider audience.

-You have explored many wonderful professions in addition to writing including, being a classical cellist, a holistic healer, and a scientist. How have these other creative and intellectual pursuits contributed to your writing?

The single most important thing I’ve gained is the discipline of being a classical musician. Someone recently pointed out to me that classical music is the one artistic field which requires the highest investment in time, energy, and money for the least return in today’s economy. Where else do little kids practice hours a day, take expensive music lessons, take the “audition of their lives” to study at pricey conservatories, and spend five figures on an antique instrument… just for the slim chance at earning all that back in the vanishing classical music profession? It turns out that many music school graduates have taken their skills to innovative non-music jobs. A surprising number of tech workers in Silicon Valley, for example, are actually classical musicians.

Discipline is the greatest gift. I can’t say enough about it. Yet it is the one area where the most people fall short. Discipline is required to write, solve problems, continually improve, and mentally deal with the pain of critical feedback. Discipline is required to keep the mind free from destructive thoughts and to keep yourself focused on the highest level of quality you can manage.

The second skill I’ve gained through my experience is emotional awareness from working in holistic therapy for sixteen years. I listen to people’s stories, traumas, insecurities, and griefs. I follow their healing and their growth. I can’t be judgmental and I can’t be afraid of deep emotions otherwise my clients would stop seeing me. Therapeutic experience has also given me the “roadmap” of human motivations. Writing-wise, this helps me to create a stories that interweave motives and relationships that are rooted in true human psychology.

-Your book is being marketed as multicultural fiction. Can you share what this term means to you and why that’s an important distinction for this book?

It didn’t dawn on me that the term “multicultural” would be important in any way until I researched agents and realized, Wait, these agents would never, ever in a million years represent me. They all claimed to be interested in all genres of literary fiction, but early on, I got a strong gut feeling when I browsed agents’ client list and saw only your garden-variety white male (or female). And the only non-white authors being represented were invariably prison-camp survivors, Nobel laureates, or writers on “What it means to be [fill in ethnicity/disadvantaged class] in America.” The next stage of this realization came as I read agent interviews where they unabashedly declared their risk aversion to selling to an audience that they couldn’t relate to. In other words, there was a near-zero chance for a person like myself who is just telling a story.

But, as my writing teacher always emphasizes: The readers are out there. Unfortunately, as the traditional publishing industry has changed, world literature has fallen victim to the budgeting ax. It remains a question of reaching the right audience, but at the indie book level. Hence I saw how critical it is to designate a book properly to attract my target readers.

-What’s been the biggest surprise thus far in being published?

I’m astounded at how supportive other indie authors are. I’m also floored by how impossible it is for anyone with kids to write, publish, and market a book with no child care. I started writing Trixi Pudong in 2009, pre-parenthood. My daughter was born in 2014, and my writing screeched to a complete standstill. Without my mother-in-law donating 20 hours a week of babysitting, I simply wouldn’t have a book out. Period.

– What do you say to yourself on days when the writing feels especially difficult?

Just wait. What goes down must come up again. 

I’m very strict about this, to not put pressure on myself. I don’t work well under pressure. I would just produce garbage. But when inspiration comes on its own, it really flows and the process is nearly effortless. It’s therefore more important for me to find ways to let the inspiration flow. A meditation practice — being able to empty my mind to allow for ideas to emerge, aka “listen to your heart” lol — has been my best resource.

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

This is going somewhere, I promise: My dad is a retired professor of computer science at the University of California, Berkeley. For a while decades ago, UCB topped even Harvard as the country’s best university, and this was because of his department. So he’s a pretty esteemed individual in his field (just don’t ask me anything about it!). At conferences and events, fellow professors and former students flock around him. I’ll never forget what some of his former grad students related to us at his 80th birthday celebration. According to these students, my dad always told them that, in the face of doubt:

Never compare yourself to anyone else.

Remember that no one else can do what you are doing.

 

Thank you to Michele for giving me the honor of guest-posting on your blog! You can find the rest of my blog tour schedule here.

 

Affirmations-366Days#205: My writing connects me to history and to people who were never given an opportunity to express themselves.

For new readers, here’s why I’m committing to writing affirmations, about the creative process, during the next 366 days.

I have written in other places about the influence of my maternal grandmother on my desire to write. My grandmother used to read five to six newspapers a day and loved the written word. She had entertained high aspirations of becoming a journalist (already in full bloom in adolescence as evidenced by her securing an interview with Harlem Renaissance notable Countee Cullen for the high school newspaper). She did do some writing for The Amsterdam News, a black focused newspaper in NYC. However, she found it overall impossible to give her creative gifts to the world because of her skin color and sex.

This was true for many women of color of her generation. Barriers for many women rooted in the intersection of sexuality, race, nationality, class and disability still profoundly shapes the possibilities and trajectories of a creative life. I am aware of how privileged I am in the ability to contemplate let alone pursue a creative life. I write for myself, but also with an attention to telling collective stories that my mother, grandmother and others would have loved to hear. And, I do believe that as more women of color live fulfilling creative lives, at some deep inexplicable metaphysical level, we heal the unfulfilled karmic desires of female ancestors who came before us.

Pavarti Tyler is an adored writer and publisher. Under the moniker P.K. Tyler, she writes speculative fiction and other genre bending fiction. She’s published works as Pavarti K. Tyler and had projects appear on the USA TODAY Bestseller’s List. She also created Fighting Monkey Press.

IndieReader has said this about Pavarti: “Tyler is essentially the indie scene’s Margaret Atwood; she incorporates sci-fi elements into her novels, which deal with topics such as spirituality, gender, sexuality and power dynamics.”

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I know Pavarti because I’m one of the 22 authors in her recent Uncommon Origins: A Collection of Gods, Monsters, Nature and Science anthology published through Fighting Monkey Press. This is the second UnCommon anthology that she has published, beginning with UnCommon Bodies. She is currently reviewing manuscripts for UnCommon Minds.

uncommonorigins

 

Not only was I delighted to have my work accepted for UnCommon Origins, I was thrilled to become part of Pavarti’s community of writers. Leading up to the launch for UnCommon Origins, Pavarti mentored and supported us in learning about marketing, branding, and finding audiences that would love our work. I learned so much! I also got to interact with authors involved in UnCommon Origins and authors from UnCommon Bodies and other projects that Pavarti has brought to fruition. She’s nurtured a group of writers who are incredibly generous and supportive of each other. As I noted in an earlier post, the launch for UnCommon Origins was incredibly successful and continues to trend on Amazon. Pavarti knows both art and the marketplace.

mosaics

I recently discovered one of her other series: Mosaics: A Collection of Independent Women. This collection is ambitious in scope and features a diverse group of self-identified women writing about intersectionality (e.g. how social categories of race, class, sexuality, nationality, etc. come together simultaneously to shape both privilege and power). Pavarti has recently released the second Mosiacs collection with its multi-faceted look at the history and culture surrounding femininity: “If gender is a construct, this anthology is the house it built. Look through its many rooms, some bright and airy, some terrifying– with monsters lurking in the shadows.” This work offers readers poetry, essays and fiction, showcasing voices that don’t often get represented.

Profits from both collections are donated to the Pixel Project to end Violence Against Women.

I’ve written about intersectional theory, practice and methods as a scholar, so I was especially interested in this project. Mosaics is timely given the ongoing VIDA: Women in Literary Arts conversations about gender equity and the We Need Diverse Books movement.

I wanted to know more about Mosaics and Pavarti’s writing career. I’m delighted to welcome Pavarti Tyler to The Practice of Creativity.
 

 -Tell us about the Mosaics collections. What inspired them?

Mosaics was a project conceived by Kim Wells.  We decided to work together because our politics and philosophies are so in line.  Both books were filled with stories the two of us hand selected for inclusion and that we believed brought something special not only to the literary world, but also contributed to the conversation about sex and gender. There has been so much controversy and misunderstanding about feminism and equality lately, we felt it was important to give voice to a wide variety of women and experiences on how gender intersects with issues of race, sex, and ability.  In the end, we had so many amazing submissions we weren’t able to put together just one collection and had to expand the scope to two books.  It was a tremendous amount of work, but work I’m exceptionally proud of as both an author and publisher.

– You’ve edited several anthologies over the past few years. What do you enjoy about being an editor? How was editing Mosaics different than your other anthologies (i.e. UnCommon Bodies)?uncommonbodies

I’m actually not an editor.  I’m lucky I’m able to spell my own name right most days. In all these projects I’ve worked as curator, coordinator, and publisher (and often marketer).  I love the chance to bring together new voices and curate selections that stand up as individual works, but which also add something to the greater whole when seen in context of the collection.

-You manage to pack a lot into your day! You are a blogger, writer, editor and publisher. How do these activities feed each other and you?

I’m not sure if this question makes me want to laugh or cry.  I do pack a lot into my days and I’m exhausted most of the time, but everything I do is done out of love and passion.  A passion for language, for story, for the fundamental belief that it’s essential to the human condition to share experiences. Of everything, blogging is the one thing I don’t do consistently, only when something strikes my fancy or inspiration, but I do try to put up something every few weeks.  While it’s not my primary passion, it’s a great way for me to connect with readers in a direct and personal way.

-Is there a story behind the name of your publishing imprint—Fighting Monkey Press?

Yes.  My husband and our friends were ridiculous creatures when we met.  I called the group of them my monkeys because of their penchant for climbing walls and jumping over things on rollerblades.  They were also all on the fencing team.  So when it came time to name my company, Fighting Monkey just made sense.

-Do you consider yourself a discovery writer (also known as a pantser) or outliner? Or do those categories not apply?

I plot, but I’m not a micro plotter.  I use a 5 act structure and outline the basics of where I’m going and then beat plot a few chapters ahead of where I am before writing.  The essential part of this for me though is the willingness to just delete it all if the characters take me in another direction.  They usually know the story better than I do so I follow their lead.  So I’m a plotter who sometimes gets swept away by my pants.

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

Shut up.  I know that sounds harsh, but there are only 2 rules for writing: 1 – Shut Up 2 – Write.  If you can get past the first one, I believe everyone has a story to tell.  So silence your inner critic, stop talking about the things you want to do, stop posting on Facebook about writing, just shut up and write.

 

Pavarti Tyler attended Smith College and graduated with a degree in Theatre. She lived in New York, where she worked as a Dramaturge, Assistant Director and Production Manager on productions both on and off-Broadway. Later, Pavarti went to work in the finance industry for several international law firms. Now located in Baltimore Maryland, she lives with her husband, two daughters and two terrible dogs. When not penning science fiction books and other speculative fiction novels, she twists her mind by writing horror and erotica. Find out more about her here.

 


Michele Tracy Berger

Michele Tracy Berger

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

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