The Practice of Creativity

Posts Tagged ‘Women

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.”

pav

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.

 

Powerful. Dynamic. Tender. Truth-teller. In my first few interactions with Dr. Laurie Cannady, all these words went through my mind. We were suitemates this August at The Room of Her Own Foundation writing residency. We have several overlapping interests including academe, the health and well-being of African American girls and women and creative writing. Throughout the residency, we would stay up late into the night talking about books and life. I felt lucky that I got to spend so much time with her. I was thrilled to discover that Laurie’s new memoir Crave: Sojourn of a Hungry Soul was being published this year. I shared with her my observation that there are too few memoirs written by women of color. I believe it is vital that women of color write about the context of our lives. When she read, during her allotted three minutes provided for each participant, the audience was entranced by the rhythm and power of her words. It was an unforgettable reading, marked by a standing ovation.

Dr. Cannady has published an array of articles and essays on poverty in America, community and domestic violence, and women’s issues. She has also spoken against sexual assault in the military at West Point. Her new memoir, Crave: Sojourn of a Hungry Soul debuts in November with Etruscan Press. Dr. Cannady has as MFA from the Vermont College of Fine Arts.

I’m delighted to welcome Laurie Cannady to The Practice of Creativity.

Screenshot_2014-12-18_18-330-crave

-Tell us about your new book Crave: Sojourn of a Hungry Soul. What inspired this book?

Crave: Sojourn of a Hungry Soul is a coming-of-age memoir that chronicles a young girl’s journey through abuse and impoverishment. The effusive narration descends into the depths of personal and sexual degradation, perpetual hunger for food, safety and survival. While moving through gritty exposés of poverty, abuse, and starvation, Crave renders a continuing search for sustenance that simply will not die.

-What is your biggest hope for Crave as it meets readers?

My hope is that it will resonate with those who, like myself, have had to journey through one difficult situation after another, those who don’t always feel like they have a tight enough grasp on hope, but they work toward a healing anyway because they know there is a way out of the mess.

-While you were writing Crave, were there authors that you mined for inspiration?cannady03-210

I read so many books while crafting Crave. The Glass Castle by Jeannette Walls served as a constant source of inspiration. I especially focused on the way in which her narrative moved across space and time. Rigoberto Gonzalez’s Butterfly Boy made me brave as I told my story and the stories of those who shared life with me. His honesty kept me honest and he demonstrated the skill it takes to weave a narrative that includes the voices of family members and friends. I revisited several times Frank McCourt’s Angela’s Ashes, studying his voice and the way in which he depicted the tragedies he and his family faced. His lyric voice made some of the most painful scenes palatable.

– How do you handle the moments when you have to write a painful scene?

Oftentimes, I’ll put on music, songs that remind me of the scene I’m writing. The process of writing painful scenes is especially meditative for me. I try to place myself back in that situation so that I can write from the POV of who I was then, not as the woman I am now. (That comes during the revision process.) I usually have to be alone and I need silence. During really tough scenes, I ask my husband to check in on me in about an hour or so, just to make sure I’m not going too far and too deep. There have been times that I just needed him to hold me after the writing. His embrace reminds me that I’m not in that situation anymore and I am in a safe place. There were some scenes where that writing seeped into my waking world or into my dreams. For that reason, I have people in my life with whom I can share my fears and sadness. Much like a child, “it takes a village” to raise a memoir!

-What’s next to your bed (or in your Kindle)? What are you reading now?

Full Catastrophe Living: Using the Wisdom of Your Body and Mind to Face Stress, Pain, and Illness by Jon Kabat-Zinn. While writing memoir, I think it’s important to practice self-care. Full Catastrophe Living not only reminds me of that, but it also gives me the tools to do so.

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

Write a page every day, no matter what, and don’t be afraid to allow your narrative to reveal things to you. When I first began writing memoir, I thought I had to write everything, as accurately as I could remember, to some self-imposed end. It took years to realize that my narrative had its own end and its own way in which it wanted to be relayed. So, writing a page a day was a relief. I allowed the scenes to unfold as they pleased and once that writing was done, I was able to shape all that I had written into Crave.

 

Laurie Jean Cannady is a professor of English at Lock Haven University, where she spends much of her time encouraging students to realize their true potential. She is a consummate champion of women’s issues, veterans’ issues, and issues affecting underprivileged youth. Cannady resides in central Pennsylvania with Chico Cannady and their three children.

Find out more about Laurie Cannady here.

Checkout Crave’s amazing book trailer: https://www.youtube.com/watch?v=HFKPiUSQqBY#action=share

 

 

I’m sharing more about the magic of the AROHO writing retreat that happened almost one month ago. In the afternoons during the AROHO writing retreat, participants got to hear various writers discuss and riff off of the touchstone books thematically guiding the retreat: Virginia Woolf’s Orlando and Maxine Hong Kingston’s The Woman Warrior. The Woman Warrior at its core is about mother and daughter relationships and secrets. The presenters provided insights, read creative work, shared scholarly essays, tributes and everything in between when talking about these two texts. One of the speakers was Tania Pryputniewicz, a poet, who also writes a lot about motherhood and the creative process. She shared with us an incredibly powerful exercise designed to help us reflect on the nature of the secrets our mothers kept and secrets we’ve kept from them. I am re-blogging her wonderful post where she elaborates on her relationship to The Woman Warrior and shares this exercise in full. She is also calling for guests posts based on her exercise.

Mothers and Daughters: Secret Catharsis in Woman Warrior (and a Secret Door Writing Exercise for You)

 “You must not tell anyone,” my mother said, “what I am about to tell you.” So opens Maxine Hong Kingston’s The Woman Warrior, from the first section of the book, titled, “No Name Woman.” So begins the re-telling of a family secret, where the story of the No Name Aunt moves out to haunt a much wider audience of mothers and daughters. The irony is not lost on us that the narrator, at the outset, in sentence one, is engaged in the act of disobeying her mother.

La Posada Door Robyn Beattie

Many of us would agree that mother/daughter relationships are at one time or another fraught with complicated emotional, psychological narratives and emotional withholdings. But these same complications often come with hidden gifts.

read the full post here

 

Tomorrow, I leave for A Room of Her Own Foundation’s week long writing residency which is being held in Abiquiú, New Mexico at the amazing venue known as Ghost Ranch.

Ghost_Ranch_redrock_cliffs,_clouds

A Room of Her Own’s nonprofit mission is: To inspire, fund, and champion works of art and literature by women. They host one of only about five or so writing residencies, in the country, exclusively for women.

It is a competitive residency and I am thrilled that I was accepted. There will be over 100 women writers attending (emerging writers to well established authors like Janet Fitch and Tayari Jones!), and I will get to take master classes and workshops with a range of amazing writers including Elizabeth L. Silver, Mary Johnson and Cynthia Leitich Smith. We will also spend our evenings discussing the retreat theme ‘Writing Against the Current’ which is a focus on Virginia Woolf’s novel, Orlando and Maxine Hong Kingston’s novel, Woman Warrior–and Kingston will be there in residence!

Another honor is that I will also be a ‘studio leader’ presenting a one hour version of my popular workshop: ‘Tone Your Creative Core: 5 Secrets for Artists’. This workshop offers strategies in areas where most creative people struggle: time, abundance and prosperity, feeling worthy to create and goal-setting. I’m delighted to explore these issues with women writers.

Writing residencies are structured in various ways. Some provide room, board and solitude, offering uninterrupted time to write with no other requirements. Others, like AROHO are much more interactive, including: providing intensive workshops (sharing and critiquing other participants’ work), hosting nightly receptions and readings, offering craft lectures, and encouraging networking and collaboration. I’ve known writers who have attended each type of residency. We often think the hardest part is getting accepted to one, but this isn’t the whole picture.

I’ve spent the last few months preparing for this incredible opportunity and have noticed that although there are a number of wonderful posts about why one should apply to a writing residency (see Jennifer Chen’s musings), and where to apply for one (here’s a great list from ‘The Write Life’), there is almost no discussion about preparing for the residency and making the most of it while there. Besides of course, to write.

Making the most of one’s residency means giving some thought to hidden challenges.

I’ve seen writers come back from a residency deflated because they had set unrealistic writing goals. Most folks are exhausted by the time they get to attend a writing residency. They’ve been juggling work, family responsibilities, community commitments, etc., often at a frenzied place. It can take a few days, during the residency, to decompress and reconnect to deep creative work. I’ve also known writers whose inner critics got the best of them and consequently didn’t get as much writing done. Or they got so intimidated by the other writers and instructors that they weren’t able to make enduring connections or contacts.

Here’s my five tips for making the most of a residency:

Make Your Goals Inspiring, Not Exhausting

Setting unclear or overly ambitious goals during a residency can lead to a big letdown. Writing residencies are also about allowing inspiration and spontaneity, so being flexible with goals can allow for more enjoyment as the writing process unfolds.

For most of the week, I’ll be taking a master class on ‘Emerging Heroes: Diversity in Young Adult Fiction’ with Cynthia Leitich Smith. I know little about writing young adult fiction and am super excited about stretching myself as a writer. Consequently, given the intensity of learning a new field, getting and giving feedback on others’ writing and the possibility having to work on prompts that Cynthia may assign outside of the workshop, I’m keeping my writing goals modest. From the schedule, it looks like I’ll have a daily 2-3 hours of individual writing time. I’m shooting for 10-20 pages a day of writing. That feels doable. I’ll also allow myself  to create fresh material as well as work on current projects.

Give Yourself Permission to Embody Being the Writer of Your Dreams

Writing residencies present an opportunity to practice being a writer in public. Often aspiring writers write behind closed doors and without many opportunities to get publicly affirmed about their writing efforts. This is the time to revel in one’s writing identity. I’m going to take every opportunity to walk, dress and act like I am the writer of my dreams. I’m wrapping myself in an inner shawl of ‘deservingness’. I am holding the intention to attend every nightly reception and meet a few new people. I also hope to meet newly published authors that I’ll want to invite for an author interview for the blog.

Do an Inner Critic Check

Visual artist, Beverly McIver once said at a professional development workshop for artists, “Feeling worthy is a learned behavior.” Inner critics can make themselves known during a residency and derail us. In various posts, I’ve discussed some of the more common inner critics including the comparer, the pusher, the judger, the imposter, the procrastinator and the perfectionist. Inner critics inspire fear, judgement, dread and envy toward our writing selves and writing lives. Spending some time addressing inner critics (and assigning them new jobs where possible), before and during the residency can help quiet draining mental chatter and quell anxiety.

Polish Your Social Media Profile

Social media is often where people will find you first. I’m hoping to make strong connections while I’m at AROHO. I’ve already started to look up some of the people in my master class and have enjoyed learning about them through their social media sites. In the past month, I’ve spent some time updating my bio across my social media sites and beefing up my author Facebook page. You never know when someone is going to look up after making a connection, so it’s important that they can find you. A that what they find out about you inspires and draws them in.

Practice Communicating about Your Work

What is your work like? What are you working on? These are the essential questions to consider when talking about one’s work. Do you have an elevator pitch? Many writers (and artists in general) tend to avoid communicating about their work or freeze up when they do talk about their work. Given the time and emotional investment we have made for our creative pursuits, communicating about it is necessary and part of the creative process. I’ve been practicing my brief elevator pitch and look forward to using it.

Here’s great advice on elevator pitches from the Artist’s Tools Handbook from Creative Capital:

In theater, a rule of thumb is that, for every minute of stage time in a play, you need an hour of rehearsal time–and that’s when the script is already written. So think about spending at least an hour on this. Don’t just repeat your pitch 60 times; it’s more a measure of how long you should concentrate to get something good.

 

If you have tips to share about your experience at a residency and how you made the most of it, I’d love to hear them.

Photo credit: “Ghost Ranch redrock cliffs, clouds” by Larry Lamsa

Happy Mother’s Day!

Themes about mothering and specifically the relationship between mothers and daughters tend to find their way into my creative work. Several of the stories, in the short story collection I am polishing, deeply explore the continuum of mothering relationships (e.g. biological moms, grandmothers, godmothers, aunties, etc.).

In my recent non-fiction work, I celebrate the courageous spirit of my mother in the just released A Letter to My Mom.

CCwaTVtUsAIU6r4

In fiction, I love reading about mothering relationships that are a bit off balance, unusual or difficult. There are some mother characters that have stayed with me long after I put the book down.

I’m thinking of the complex figure of ‘Elphaba’ in Gregory Maguire’s brilliant retelling of the Wicked Witch of Oz story in Wicked. Elphaba didn’t want to be a mother and for most of the book denies that she is responsible for Liir, a young boy. She is an absent, wayward and troubled mother. Although the second book, Son of a Witch, confirms that Liir is indeed Elphaba’s son, I appreciate how Maguire challenges ideas about the ability to mother as innate and easy.

In Beauty, Sheri Tepper’s stunning mythic novel, the main character Beauty is half fairy and half human and is the important player in an elaborate effort to save humankind (although she does not know this at the beginning of the novel).

Beauty is on a quest to find her mother (a fairy) who abandoned her when she was a baby. The novel begins in the 15th century and her journey propels Beauty through multiple time periods including the 20th century. Through Beauty’s quest, Tepper is able to have Beauty experience and shape key ‘fairy tales’ including Sleeping Beauty, Cinderella and Snow White. When Beauty finally finds her mother, she must confront her mother’s divided sympathies. This book takes up questions of loyalty, love and abandonment.

Flight Behavior by Barbara Kingsolver tackles the question of: How do different people view an unusual event in nature? Is it a disaster? Is it a miracle? Is it a sign of life out of balance? Kingsolver explores these questions through the prisms of class, region, science, love, loyalty and family.

Kingsolver’s main character, Dellarobia Turnbow, is someone who has been let down in many parts of her life. She got pregnant young, married the wrong guy, is tolerated by her in-laws, doesn’t like church and is constantly overwhelmed as a housewife and mother. The novel opens as she is about to take a drastic step to escape her unfulfilled life when she comes face to face with an experience that will shape and redefine her in unimaginable ways. This book provides some of the best descriptions of the physical and emotional labor of raising small children and how that often allows little time for self-introspection. I also love how trust and rapport develop between Dellarobia and her mother-in-law, Hester, who begins as an unsympathetic character.

Do mother figures and/or themes about mothering show up in your creative work? If so, how? What are some of your favorite mother figures in fiction?

 

Camille Armantrout was born in 1954 on the East Coast, first born and only girl followed by five little brothers, which is where she got her sense of humor. She began keeping journals and corresponding with pen pals in grade school and has traveled the world with her soul mate, Bob.

Like so many who live in Chatham County, N.C, she is passionate about local farming and food cultures, sustainability and building community. I’ve been a friend of Camille’s, for many years, and a fan of her blog: ‘Plastic Farm Animals’ that threads together community news, personal reflection and travel stories. She and Bob host an annual ‘Hoppin’ John’ potluck party on New Year’s Day. They are greats host and I look forward to this event every year. This year at the party, I held in my hands the recent fruit of Camille’s labor, a co-authored book, Two Brauds Abroad: A Departure from Life as We Know It. Camille and her co-author Stephanie De La Garza document the maladies, epiphanies and tragedies of their collective wisdom gleaned from traveling the world and writing to each other about their discoveries. They loved the challenges of living abroad and inspire readers to go on their own adventures. Although I knew Camille blogged, I had no idea that her passion for writing was deep in her bones. I had to invite her here to learn more.

I am delighted to welcome Camille Armantrout to ‘The Practice of Creativity’.

 

TwoBraudsCover

 

Tell us about your new book, Two Brauds Abroad: A Departure from Life as We Know It. Why did you want to write this book?

My year and a half in Africa was epic. When I returned to the U.S. everyone was eager to hear about the trip, but would quickly become confused when I tried to sum up my experiences. Inevitably, I would end the attempt with “I could write a book…” and so I did.

My co-author Stephanie and I had discussed writing a travel book a few times. While I was in Ghana, she was experiencing her own travel adventure in Central America, having sold her house, cars and nearly everything else to move abroad. We thought our stories would inspire others to follow their dreams.

Stephanie came up with the title and I liked the alliteration. She chose the alternative spelling of braud, a word Urban Dictionary defines as “Fearless female; an adventurous, daring or independent woman.”

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

The writing bug bit me early on. My father was a writer and I began keeping a journal in grade school. I don’t think there’s been a day of my life when I didn’t write something. In the back of my mind, I always thought I would one day transition from writer to author, and now I’ve gone and done it.

What was your relationship with your co-author Stephanie before this book? What did you learn about each other in the process of writing Two Brauds Abroad?

Stephanie and I are longtime email buddies. We met in Nicaragua ten years ago when she came to stay at the lodge my husband, Bob and I were managing. We enjoyed each other’s company and have been corresponding ever since. Over the years, we have shared all aspects of our lives and know each other well.

Stephanie and Camille (right)

Stephanie and Camille (right)

Interestingly, we are two very different people. I’ve been married for twenty years. Stephanie is sixteen years my junior and still playing the dating game. I’m a vegetarian and Steph dislikes pretty much all vegetables, she’s more willing to take risks than I am, I’m more of a morning person than she is and she’s an only child while I come from a large family.

As we plunged into our project, we were happy to find that we have similar work ethics and that our skill sets dovetailed nicely. I submerged myself in editing as she launched a comprehensive marketing plan. Stephanie discovered that I’m a perfectionist and I found out she has a compulsive, “Let’s do!” streak.

The second half of the book is about how someone can transform his or her self into a world traveler. Where does this person start?

Planning begins with a financial safety net. Decide how big your cushion needs to be and either start saving or begin liquidating assets. Next, check out the possibilities via the Caretaker Gazette, Help Exchange, World Wide Opportunities on Organic Farms (Wwoof) or similar resources. Pick a location and start reading up on the culture and climate.

It’s worth noting that our transformation tips are not limited to world travel. You can reinvent yourself right here at home with a career or other lifestyle change using the same tools we offer in part II of our book.

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

I am reading George Monbiot’s Feral: Rewilding the Land, the Sea, and Human Life, Little Altars Everywhere by Rebecca Wells and have just finished Rin Tin Tin: The Life and the Legend by Susan Orlean.

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

Pay attention to your writing patterns. If you discover, as I did, that your words flow in the morning, clear your am calendar to take advantage of that creative burst. Keep pen and paper handy at all times, in your pocket or purse, on your bedside table, and in the car.

 

Camille Armantrout has lived and worked all over the world. She is usually traveling with her co-conspirator and husband, Bob. Camille has worked in kitchens, on construction sites, driven taxi and groomed race track thoroughbreds. She bakes for fun, trains horses, and writes about the world as she sees it, here.

Check out Two Brauds Abroad on Amazon!

 

Amanda Owen’s first book, The Power of Receiving offered a paradigm shift in how we typically approach and embrace the states of ‘giving and receiving’. She notes that historically, our society “champions the use of willpower and under-recognizes the value of receptivity.” Owen encouraged us to look at how our beliefs about the continuum of ‘giving and receiving’ and ‘active and receptive’ shape our lives.

In receptive states, we generally can pay more attention to “information from and about other people, information from the environment and information about our own feelings.” A close friend of mine and I (both overdriven ‘givers’) read this book together, discussed it and did the practices suggested. We experienced a remarkable shift in our capacity to receive,and our ability to acknowledge and express our preferences and desires. Owen’s philosophy of receiving was also helpful in interrupting my tendency to live in a constant state of ‘doing’. I don’t often write reviews of  books, but I felt moved to do so for The Power of Receiving.

Author_photo_Amanda_Owen

I am thrilled that Amanda’s new book, Born to Receive: 7 Powerful Steps Women Can Take Today to Reclaim Their Half of the Universe brings her important message about receiving to women. This is a timely book that delivers real treasure. Amanda Owen is a consultant, coach, and motivational speaker. Her powerful “Receive and Manifest” seminars and workshops have transformed thousands of lives and have earned her a loyal worldwide fan base.

I’m delighted to welcome Amanda Owen to ‘The Practice of Creativity’.

Why did you write Born to Receive? What’s in store for readers?

Born_to_Receive

My first book The Power of Receiving gave an introduction to receiving and provided a foundation and basic tools for living a balanced life. In early 2012, I discovered I had much more to say about this topic—specifically to women.

Women pay attention and tend to other people’s needs in a way that makes them vulnerable to overextending their giving and subjugating their own needs and desires. I wanted to provide practical solutions and demonstrate how embracing their receptive power would give them more energy, reduce stress, and help them achieve greater reciprocity in their relationships and create more balance in their lives.

In Born to Receive I offer seven practical steps that women can easily integrate into their daily life and give numerous examples of women who have changed their lives for the better by using their receptive power.

You suggest that women should be critical of the idea that we “naturally” suffer from low self-esteem and look instead at several external influences. Can you say more about how women can disengage from ‘the cult of self-esteem’?

It makes sense that women feel it is natural to have low self-esteem. We are constantly told that we struggle with self-esteem issues and are bombarded with products that will help us.  (Is there a Dove Beauty Campaign for men?) It’s become a mantra that too many of us say over and over: I have low self-worth. I suffer from low self-esteem. It’s like we have all been drinking the same Kool-Aid.

In Born to Receive, I ask women to stop talking about their self-esteem and refuse to let their feelings about themselves be dictated by those who do not have their best interests.

You outline seven powerful steps that can enable women to use receptive power in their daily lives. In Step Three (Ask For Help If You Need it and Accept It When It’s Offered) you note that, “Even though our culture is infatuated with a person who does it all, carrying 100 percent of the load is not natural and is not the behavior of an empowered woman…If you are habitually giving more than 50 percent, you are doing too much.” Can you expand upon this for us and discuss why you think we should be striving for 50% versus 100%?

Filling our days with activities that our bodies cannot comfortably support is a kind of madness. But if we follow a cultural model that champions activity and self-sufficiency and undervalues receptivity and cooperation, we can’t help but harm ourselves. I call this “multitasking mayhem.”

Allocating 100% of our energy and efforts to trying to make something happen is not only unnatural, it is mentally exhausting, physically depleting, and emotionally draining. When we give as well as receive, we allow a metaphorical gate to swing both ways. Sometimes it opens away from us and sometimes toward us.

What did you learn about yourself as a writer while writing The Power of Receiving that helped while you were crafting this book?

Above all, writing The Power of Receiving gave me confidence. Once I wrote one book, I knew I could write another one. Also, working on my previous book gave me a template to follow for Born to Receive—not only for how to structure a book, but also how to structure my day.

What does your writing practice look like?

I write every day. My day starts out with catching up with the world through online news and emails over coffee and breakfast. Then I begin writing, which usually lasts until about 3 pm. My friends know not to call me during the day since I do not answer the phone when I am writing.

What’s your best writing tip?

Write every day. Write plenty of bad sentences so that you can get to the good ones. If I don’t have a terrible piece of writing in front of me after all of my efforts, I feel like I have not made any progress. I need something I can work with, fuss over, and shape. A flimsy idea can be nurtured into something substantial. A phrase can be fanned into a flame that produces a whole sentence. A poorly written paragraph can inform me of a direction that may yield gold.

To find out more about Amanda Owen and to purchase Born to Receive, visit her website.

 


Michele Tracy Berger

Michele Tracy Berger

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

View Full Profile →

Follow me on Twitter

Follow The Practice of Creativity on WordPress.com