Category: Writing

Some Recent Fantastic Reads by Black Authors

Black lives matter. This should be something obvious, not something that needs to be said. But recent news shows just how deeply racial tensions run, how embedded they are in our institutions, and how much harm they cause.

In the interest of supporting Black creators, I’ve put together a list of books by Black authors that I read and enjoyed recently. This is by no means a ranking, definitive guide, or anything like that. Instead, it’s an idiosyncratic list of well-crafted, fun, and moving (mostly genre) books which often share perspectives and insights that may be new to white readers. Hopefully you’ll find something in there that you’ll enjoy reading from cover to cover!

YA and Middle Grade

Akata Witch / Akata Warrior by Nnedi Okorafor: This series has been called “the Nigerian Harry Potter”, and it delivers on magic and worldbuilding. 12-year-old Sunny, who’s albino and was born in the US, is treated as an outsider once her family returns to Nigeria. Then new friendships reveal her hidden magic and a whole new society of Leopard people. Expect adventure and an astonishing world, grounded in Nigerian myths and realities, that you will wish you could visit. 

The Belles by Dhonielle Clayton: In a world where citizens are born grey, a select group of women has the power to magically alter people’s appearances, allowing them to conform to the latest fashions and be “beautiful”. Camilla is one of these young women, and she discovers that her world’s beauty culture has sinister roots. Expect beautiful prose and a thought-provoking contemplation of beauty standards.

The Poet X by Elizabeth Acevedo: Afro-Latina teen Xiaomara finds her voice as a slam poet in this moving novel told in verse. There are a lot of truths here about fraught family dynamics, first love, and more, and they are expressed with raw beauty. Get the tissues ready!

Fantasy and Science Fiction

A Taste of Honey by Kai Ashante Wilson: A gay fantasy romance that uses dialect in deft and unique ways. When Aqib’s country is visited by foreign soldiers, he meets Lucrio and encounters the ideas of a nation where same-sex relationships are accepted. A choice unfolds: does he stay with his familiar settings and beloved zookeeping responsibility, or does he leave with Lucrio into the unknown? This novella beautifully explores two parallel lives. 

The Murders of Molly Southbourne by Tade Thompson: A gripping science fiction horror novella. Every time Molly bleeds, a copy of herself emerges, intent on killing her. She is taught to murder them in turn. It’s a strange, eerie book about threat and escape that I couldn’t put down.

Binti by Nnedi Okorafor: Mathematically gifted Binti is the first Himba person to be accepted to a university off-planet, but her space travel is disrupted by the alien Meduse, who the university has wronged. This is a highly inventive novella about building bridges between warring groups of people (including extraterrestrial people in this case).   

Romance

A Princess in Theory / A Prince on Paper by Alyssa Cole: The Reluctant Royals series is beloved for good reason: it takes a critical eye to the tropes of royal romance while revelling in their best parts. In A Princess in Theory, an epidemiologist gets spam emails from an African prince she is betrothed to, only to discover that they’re real. A Prince on Paper is my favorite in the series, featuring a sensitive playboy hero and a heroine who is deeply kind. There are further books in the series, too, on my TBR list. 

Let It Shine by Alyssa Cole: Two childhood friends, a Black “good girl” and a Jewish boxer, reunite and fight for civil rights in this sweet, impactful novella. The Civil Rights movement in the 1960s takes center stage as the main character finds her voice.

Fit by Rebekah Weatherspoon: Another short romance, for those who like their reads on the spicy side. A TV producer seeks out a personal trainer, who proposes an unconventional arrangement for getting her fit.  

Nonfiction

Hunger: A Memoir of (My) Body by Roxane Gay: This memoir does not present a triumphant narrative arc but rather a messy, complicated reckoning. Gay writes with honesty and sensitivity about the trauma of early sexual assault, her compulsion to eat in order to be safe, what it’s like to move through the world in a very large, “unruly” body, and learning to take care of her physical self. I found it moving while giving me a lot to consider and grapple with.   

To this list, I add my recommendations of Children of Blood and Bone (YA fantasy) and An Unkindness of Ghosts (science fiction) from a previous blog post.

What are some books by Black authors that you enjoyed? Let’s keep the recommendations coming! 

Continue Reading

The Bestseller Experiment: Can You Write a Bestselling Book in a Year?

For two years, I’ve wanted to go to London Book Fair. This year I was finally going to get there, accompanying colleagues to look after ICE Publishing’s stand, network, and learn. Then, as you can probably guess, the fair was cancelled due to the coronavirus. The sound reason did not dim my disappointment. Despite the cancellation, though, I got one good thing out of the London Book Fair: acquaintance with the Bestseller Experiment. 

When reading through the list of Insights Seminars planned for the fair, I saw that there was a live episode planned for the Bestseller Experiment podcast. The name intrigued me. A bestseller is a big promise. What could a “bestseller experiment” be and how did it work? I looked the podcast up and discovered it was created by two British men, both named Mark, who sought to write, edit, publish, and market a bestselling book in a year. What an awesomely audacious goal! I began listening, and soon I was hooked. 

The pair of podcasters make appealing foils for each other. Mark Stay is a seasoned writer, with a novel and movie to his name, and a veteran employee of the traditional publishing industry. With the benefits and cynicism of experience, he acts as the podcast’s pessimist, skeptical of the likelihood of success but game to go forward. Mark Desvaux, a Canada-based life coach who’d started books prior to the podcast but hadn’t finished them, is the pair’s optimist, bringing enthusiastic belief in their success and a sense of spirituality to offset his co-host’s national outlook. It’s fun to listen to the two Marks bouncing off each other. What really makes the podcast shine, though, is the caliber of its interviews. 

From the get-go, Mark and Mark interview industry professionals and bestselling authors of both traditional and indie titles. They set out to find the “secret sauce” that makes a book or an author into a bestseller, speaking to the likes of Bryan Cranston, Joanne Harris, Joe Abercrombie, Michelle Paver, Shannon Mayer, and professionals from NaNoWriMo, Kindle Direct Publishing, authors, agents, editors, and more. All the interviewees speak lucidly and eloquently about their craft and share a wealth of knowledge about the industry. Their writing journeys differ, from those who have worked in obscurity for years before having a sales or publishing “breakthrough” to early success stories, from those who hate revision to those who love it, but all share a belief in writing success because they have all experienced it. Every episode I’ve listened to so far has been worth the time, and all have left me with a feeling of hope.  

What bestselling secrets has the podcast shared? So far, the interviewed authors share a belief in taking yourself seriously as a writer (most of them write every day and set themselves word counts), having deadlines (I share their experience of writing faster when somebody gives me a due date), and writing about topics that matter to you. Again and again, the authors reiterate that you can’t write a bestseller cynically, and that good books come out of love of the subject you’re writing about. Many of them recommend go-to books on the craft of writing, and some share marketing tips. Editors and agents encourage writers not to worry about trends and to write what they’re interested in. The need for self-care when writing is also explored.  

The Marks also share the stages of their journey in writing a book. In one of my favorite episodes, Ben Aaronovitch tells them off for writing a 50,000-word “outline”! I also enjoyed listening to the Marks discuss an editor’s critique of their manuscript. Since they wrote about a female protagonist, the editor suggested using a female pseudonym, and I’m pleased to note that they succeeded without one (though Mark Desvaux used the shorter pen name ‘Mark Oliver’). It’s no spoiler to note that the Marks indeed wrote and self-published a Kindle bestselling novel in a year. Back to Reality is a fast-paced story about time-travel, body swapping and the lives one could have lived. Its success doesn’t surprise me given the excellence of the Marks’ podcasting platform, but it does make me smile. They did it! And the podcast is still going and growing, with many of their listeners publishing books including more bestsellers. If you’ve ever dreamed of writing a bestseller, you might enjoy listening to it, too. Thank you, London Book Fair!   

Continue Reading

Following The Artist’s Way Again, Over 10 Years Later

Five pelicans groom themselves in St. James’ Park, London, during one of my Artist Dates.

During the first year of my undergraduate studies, I encountered a book called The Artist’s Way. A classmate who’d completed a visual arts program told me about the volume and how his class had used it at art school. Julia Cameron’s book has sold over 3 million copies and inspired countless artists, but this was my first encounter with it. I was intrigued by my friend’s stories of how the book inspired an outpouring of productivity and gave him the courage to use masses of high-quality paint rather than being stingy. I wanted to check this book out myself.

I found a copy of The Artist’s Way in a used bookstore. One of my classes at the time involved a project in which we all found something we’d always wanted to do and did it. I’d always wanted to paint, and I used this book as inspiration. I started writing Morning Pages, following Cameron’s practice of writing three pages longhand every morning in which you vent, brainstorm, and babble. I went on Artist Dates, inspiring solo outings, though I no longer remember where I went. 

I did Cameron’s exercises, listing activities I’d always wanted to do and “secret selves” who reflected aspects of my personality that I didn’t typically express. To be candid, I only made my way partway through the book, but by the end of the year, I had in fact learned to paint. I hung some of my pieces in my dorm room, and painting entered the repertoire of arts I practiced and believed myself capable of doing. I also tried out other art forms, writing a good song and a not-as-good-but-still-finished musical. The Artist’s Way, even imperfectly followed, was a wellspring of inspiration. Once the year ended, inspired and enlivened, I moved on.

Near the end of 2019, over a decade later, an intriguing call for submissions got me writing a fantasy short story on the commute to and from my editing job. I got started but alternated between chipping away at the story and sitting there with a muddled, unproductive brain. I wanted to keep up my momentum, to keep writing, so I found myself picking up a tool I hadn’t used in years: the Morning Pages. 

On mornings when my brain wasn’t up to the task, I used my time on the London tube to ramble in my notebook about what was happening in my life. From there, spurred on by seeing a friend posting about The Artist’s Way on social media, I began to follow the book in earnest. My story coaxed me into taking a second walk down the Artist’s Way. 

A lot has changed since my first half-finished use of Cameron’s tools. I’ve moved from the creatively nurturing nest that my university provided for me to the daily routine of a full-time job, moving in a circuitous path that’s included freelancing, multiple careers, and entrepreneurship. I’ve lived in three different countries. I’ve published a successful book and dozens of short pieces. Having come from a place of early success, I’ve also become very familiar with failure. I’ve been prolific at times, blocked at times, and overly reticent with submissions. The drive of creative inspiration has at many points given way to the need to get things done. 

This need has given me a new perspective on The Artist’s Way. I’m discovering that it is, in fact, an ingenious organizational tool. The Morning Pages remind me of forgotten items to check off my to-do list and help me organize my creative projects. Sometimes bits of writing emerge from the pages, but more often than not they resemble vacuuming – getting the mind clean and ready for work. The Artist Dates have taken me on walks around the neighborhood where I work, enjoying the splendors of Buckingham Palace and St. James’ Park, becoming familiar with the birds and flowers there. For some, Artist Dates bring a welcome sense of adventure. For me, they’ve brought a deeper connection and grounding in my surroundings.  

The first time I tried The Artist’s Way, I was much closer to being that “artist child” that Cameron wants her readers to reconnect with inside themselves. I was less familiar with the challenges of the marketplace and had largely received encouragement in my writing and creative pursuits. I’d experienced the sting of some failures, but not on the scale that adulthood would bring. With this context, the encouragement offered by The Artist’s Way has been much more powerful the second time around. 

Engaging with the book’s exercises has not been easy. They’ve opened old wounds and questions about my future. However, the changes have been profound. I’d expected to discover an exotic array of new interests or begin engaging with new art forms the way I did last time. Instead, my inner voice piped up loud and clear that I want to write and need to fight for that desire. 

I was reminded of being eight years old and imagining that I would someday write all the things I read – mystery novels, advertisements, nature magazines, newspapers, everything! I remembered submissions that got lost and wondered why I hadn’t followed up. I became determined to follow that voice urging me to write all kinds of things, write what’s fun, and not put limits on myself. It’s okay that I want to be focused right now, that I don’t want to crochet or make a podcast. It’s okay that I’m scared to fail over and over. I’m determined to listen to my inner voice and honor that eight-year-old’s dreams. 

So, what’s changed in my life since beginning my second journey with The Artist’s Way? I’ve written a short story and several poems, begun a novella in a new genre, finished revising a manuscript and submitting it to my first round of agents, and embarked upon a “100 submissions a year” challenge. (I’m going for submissions rather than rejections because it’s a concrete goal within my control. One of these has already turned into an acceptance, and I’m certainly not sulking about it!) 

I’ve taken the initiative to create a blog for authors at my job. I’ve come up with several ideas for potential writing projects. I’ve started learning about linguistics and spent a morning picking up a few phrases in Swahili. I’ve gotten back in touch with some old friends, reached out to my great-aunt about family recipes, and grown very familiar with the pelicans of St. James’ Park. Fear, realism, and cynicism tango with hope and the excitement of infinite possibilities. Here I stand, in the middle of the Artist’s Way, and this time I’m determined to make it to the end.

Have you tried The Artist’s Way? What was your experience like?

Continue Reading

The Reluctant Author’s Guide to Revisions

So, you’ve finished the first draft you were writing. Congratulations! It takes a lot of effort and discipline to get this far. Take time to acknowledge the work you put in, celebrate its completion, and take a break in order to give yourself some distance from the work.

Maybe you’ve done this. Maybe that break has taken a little too long now, and you’re reluctant to get back to work on your project. Maybe you’re scared to begin editing it, or you aren’t sure how to start.

That was me not long ago after I’d finished the first draft of a manuscript. Even though I edit and write as my job, I got stuck this time around and wasn’t quite sure what to do next. It took time to get moving, but this is what I did, and these are some of the things that worked for me. Maybe they’ll work for you, too.

  1. Get feedback: If this is your first book, or if it’s a different type of project from the ones you’ve written before (like this manuscript was for me), feedback from an objective outside source can be especially helpful to give you a sense of your book’s pros and cons. I recommend reaching out to people with expertise in the area you’ve written about and asking them to review your manuscript. Both written and oral feedback can be helpful, as is getting multiple opinions—one person will catch issues that another person misses. It can also be useful to find a reader or readers who aren’t as familiar with your subject. These people can point out areas that are confusing, where your writing will benefit from further clarification.
  2. Get focused: What’s your book about? Do you know your project’s topic and key messages, or have these changed while you were writing? Feedback can help you see what others perceive your book’s focus to be. Another way to get a sense of this is to reread your book and write a summary or blurb about it, highlighting the main points of what you read. If the book you’ve finished is different from the book you set out to start, your revisions will need to either build on the new focus or build a bridge back to the old one. If you’re writing on contract, your book might need some revisions to make sure that it still follows the focus you were asked to write about. Either way, there are ways to make a change of focus into an advantage.
  3. Take out unnecessary things: As you were reviewing your book’s focus, you or others may have found that parts of it distract from the main idea. If something seems off-topic and doesn’t add to the point you’re making, it may not belong there. Make sure you save your draft, and once you’ve done that, don’t be afraid to cut the unnecessary bits. These might be chapters, topics, or sentences.
  4. Boredom-proof your book: Are your readers bored at any point? When you reread your manuscript, are there places where you’re bored? Your intended audience is interested in your topic, but that doesn’t mean that you will automatically have their attention. A book still needs to be engaging and relevant. A boring section might be overly dry; if that’s the case, liven up the language and try adding examples. It might mean that an explanation is too long—if so, condense it. It might be confusing—if so, work on clarity. Ask yourself why this section reads as boring—and rewrite it until you’re interested in reading it again.
  5. Add more when needed: Just as rereading and getting feedback can show you where you need to cut things, it can also show you places where you need to expand. Identify these places and then identify what they’re missing. Do they need more explanation or more examples? Do some of your ideas need to be connected more closely? Do you need to do more research? Once you know what you’re missing, work on adding it in.
  6. Check spelling, grammar, and flow: Once you’re happy with the changes you’ve made to the content, take a look at the technical aspects of your manuscript. Use a spelling and grammar checker, along with your own eyes, to ferret out typos. Work on smoothing out your sentences. If you have an editor, they will help a lot with this too, but they’ll also be thankful if you take the time to reread your manuscript and edit out the errors and clunky bits you spot!
  7. Vary your writing routine: Sometimes a boring routine is a factor that gets in the way of writing. If that’s the case for you—if you’re dreading sitting at that same old desk where you wrote your first draft, for example—try something new. Put on music that creates an enjoyable space for writing, whether it’s energizing or calming. Write in a different place, whether that’s a café, a quiet retreat, or a room full of other writers working simultaneously. Write at a different time from the usual. Try printing out your pages, rereading them, and editing them longhand. Sometimes changing the way you write is all you need to get into that editing headspace to make your writing the best it can be!


Revising your book can be an anxiety-inducing prospect, but it doesn’t have to be. The tips above will help you complete a book that brings your ideas clearly into the world and puts your best foot forward.

Continue Reading

2019 in Review

It’s nice, at the end of the year, to look back on the last 12 months and celebrate accomplishments big and small. Time passes so quickly that it’s easy to wonder where the year went. Taking time to reflect on the last year helps to remember and appreciate that the time went to good use. Here are my highlights from 2019. What are yours?  

2019 publications round-up 

This was a big poetry year for me.

Hashtag Queer: LGBTQ+ Creative Anthology, Volume 3 published my sequence of “Tacit poems”. Qommunicate Publishing has been a great supporter of my work, including the more experimental pieces. 

Haiku Journal published my rain haiku in issue 63. (You can read individual issues of the journal online here, and there is a lovely print version as well.)

Lift Every Voice is a lovely new anthology that published my poem “You, the shadow you cast”.

My personal essay “Learning to Paint” was also published by Heart and Humanity in February.

I have three more publications forthcoming as well. Among them, Qommunicate’s Geek Out! II anthology will be publishing my poem/script hybrid geeking out about performance and semiotics, and House of Zolo’s first journal of speculative literature will include one of my poems when it’s released in January.

New job

I had a wonderful time working at RUSI, but moved on at the end of the year to the role of Development Editor at ICE Publishing. I’m excited to be working on books and taking a bigger-picture position.  

Enneagram corporate training

Last spring, I was invited to my old city, Edinburgh, to do an Enneagram-based corporate training for Turnitin. This company makes a program I used in my old university teaching job! The leadership team purchased copies of my book, The Modern Enneagram, for all the attendees. They were a delightful, engaged group, and it was fun to spend time in Edinburgh again (despite the rainy weather). It was my first time leading a corporate training where I traveled out of town.

Work-life balance

With a new job and new financial opportunities, I’ve been able to say no to work that hasn’t been a good fit. I’ve moved into a new flat that’s nicer than my previous one. I’ve taken some time to travel and am appreciating the value that’s placed on holidays in the UK. I’m grateful to see improvements in work-life balance after a 2018 that involved a lot of “hustling”.

What was your 2019 like? What big and small things do you appreciate about the past year?

Continue Reading

5 Reasons to Go to a Writers’ Conference

Last month I attended Gollanczfest 2019, a one-day celebration of science fiction, fantasy and horror writing and publishing, hosted by leading UK SFF publisher Gollancz. The conference had two separate strands. A reader’s ticket gave access to author panels and signings, while a writer’s ticket granted entry to the smaller venue across the street, where, in addition to signings and panels (included editor and agent panels), authors gave speed-advice sessions. I came to the morning sessions on a reader’s ticket and had a great time meeting people and learning. 

If you write, edit, or read avidly, a writers’ conference can be a worthwhile use of time and money. The good news is that there are lots of writers’ conferences out there, ranging from one-day events to multi-week ones, from genre celebrations like Gollanczfest to wide-ranging get-togethers, from inexpensive local dos to festivals full of international delegates and big names. If you do some googling, you’ll probably find some that will pique your interest.

You might be wondering what you can get out of a writers’ conference that can’t be found from said googling. While online learning is great, there’s no substitute for contact in the real world. Here are 5 benefits I’ve gained from going to writers’ conferences.

Meeting people: Conferences are useful for networking. You’ll meet individuals from across the industry, including authors, editors, publishers, and readers. Networking can lead to career opportunities. At the Scottish Association of Writers’ 2018 Conference, I met a new freelance client, and some writers meet their agents or editors at conferences. It can also lead to lifelong friendships. I recommend attending with an open mind and an interest in getting to know people.

Learning about the industry: Writers’ conferences are chock full of industry people talking about what’s new in publishing. You’ll learn about trends, themes, and the nuts and bolts of publication. You might also learn about related fields – one of my favorite parts of Gollanczfest was a panel where four authors whose books had been made into movies talked about the process. A takeaway point from Ben Aaronovitch (author of Rivers of London): If you want any creative control, assert your requirements from the outset and be willing to not have a movie made otherwise. Also, be clear on what price you are willing to accept.

Meeting authors and getting new books: I’m listing this separately from meeting people because, in addition to meeting authors at sessions and “in the crowd”, writers’ conferences usually bring in authors to lead panels, give readings, and do signings and other events. Sometimes it’s intimidating to approach a big-name or favorite author, or they’re too busy to chat. But you might have the chance to pick up one of their books and have them sign it, learn from their experiences, or hear them make funny character voices. And writing conferences always come with a book table full of goodies – some of which may be hard to find outside the conference, and some of which may be that next exciting read you’ve never heard of. Don’t show up with an empty wallet!  

Getting a better sense of your own writing approach: While listening to and interacting with the writing community, you’ll find some authors and approaches to writing that resonate with you and some that don’t. It’s a good chance to tune in to your own taste – that inner voice that tells you what’s worth writing about, for you personally, and how you want to go about doing it. It was illuminating for me to listen to panelists discussing worldbuilding from opposite angles – Alexander Dan Vilhjálmsson set detailed rules for himself regarding language and setting, while Ellen Kushner started by following a character around and combining elements of historical periods that seemed cool. Writing is a big industry with room for many kinds of voices, and hearing how other people tell stories can feel like permission to tell your own. 

Having fun! A big part of writers’ conferences involves business and talking shop, but when you get a bunch of people together who share a common interest, they’re also bound to have a good time. At Gollanczfest, I got to meet Laura Lam/Laura Ambrose, whose Romancing the Page series I reviewed, and chat with her and other writers during a break. At the 2018 Scottish conference, I played trivia with friends from my writers’ group and we won a round of free drinks. There were lots of hearty shared breakfasts and in-jokes flying around. If you go to a writers’ conference, be ready to jump in, don’t be shy, and you’re likely to have a wonderful time!  

Continue Reading

How to Write What You Don’t Know

“Write what you know.” It’s one of the oldest truisms of creative writing. Life experience offers a wealth of material and ideas. Once you’ve experienced an aspect of life for yourself, it’s easier to depict it accurately, because you know what you’re talking about. However, there are heaps of books out there about aliens and magic powers, none of which has been proven to exist in our reality. There are fantastic stories about improbable events which the writers have never experienced, and touching nonfiction written on subjects in which the authors are not experts. Good writing isn’t inevitably drawn from direct experience. Here are some tips on writing what you don’t know.    

Research: If you want to write about something you aren’t familiar with, research is a good starting point. Read authoritative books on topics related to your subject. Watch movies or TV related to it, or listen to podcasts and radio on the topic. Some writers seek out museums or travel to relevant locations. If you’re writing about something that others have experienced but you haven’t, seek out first-person accounts. Decide on some initial questions you want to know the answers to, and begin researching them online. One link will lead to another, and you may find yourself diving down a rabbit hole of relevant and interesting information. Sometimes posting in online forums or on social media will yield great results as well.

Talk to people who know what you don’t: Go one step beyond research by talking directly to the source. If, say, you want to learn about Italian cooking, you might learn a lot from talking to an Italian chef. Informational interviews are a great way to learn more. Remember to thank the people you interview for making their time and expertise available. One way to do this is by treating them to coffee or a meal during the interview. You can also seek out specialized beta readers or sensitivity readers who come from the knowledge area or background that you are writing about and can advise on authenticity in your manuscript. In some cases, you may already know people who are knowledgeable about your subject. You may be surprised what you can learn from your friends, and from their friends!

Try something new: Say you’re looking for writing inspiration and your own experience isn’t yielding it. As Neil Gaiman says in his storytelling MasterClass, sometimes the answer is gaining more life experience. Try something that interests you which you haven’t done before. Go somewhere you haven’t gone. Talk to new people. Julia Cameron calls this “filling the well” of your creativity. Trying new things is a wonderful source of ideas!

Get inspired by media: Reading a book or watching a show can give you great ideas for writing that don’t necessarily come from direct experience. What would it be like if you got the chance to visit that magical land? What would happen if that vampire got together with the policeman tracking him down? Wouldn’t it be cool if…? Fanfiction comes from these inspirations, but a lot of original media has come from them as well. Use your imagination to build on the springboard of inspiration from creative work that has come before.  

Take “write what you know” metaphorically: Maybe you’re a nurse who’s looking to write about something unrelated to nursing. As you write, you might find that other aspects of your experience are still relevant. The emotions of treating patients might enrich your characters’ experience, or the fast pace of your job might help you write a convincing suspense plot. Don’t just draw from your experience by looking at what you’ve done. Draw on what you’ve thought and what you’ve felt. Extrapolate by imagining yourself in your characters’ shoes.  

“Write what you know” may be stellar advice in some cases, but by looking beyond its literal meaning, you can extend that foundation of knowledge to a much broader range of topics. Happy writing!

Continue Reading

5 Ways to Use Travel as a Springboard for Writing

If you love to write and have the privilege of being able to travel, you might dream of doing both things in tandem. Maybe you’ve heard stories of digital nomads who hop from country to country and make a living from their laptops, or writers who travel in their camper vans. If that’s not a lifestyle you’re looking to commit to (at this point, anyway), here are 5 shorter-term ideas for combining the work of writing with the life experience of travel.

1. Write while in transit

J. K. Rowling famously got the idea for the first Harry Potter book while on a train. If you can write on a bus, train, subway, or plane without getting motion sick, those are great excellent places to do it. Time that might otherwise be spent watching Netflix or just sitting there can be surprisingly productive, with the motion bringing your mind into “the zone”. If you’re too sensitive to motion to look down at your paper or laptop, these forms of transport are still great places to people watch. Look around you and imagine the life stories of your fellow passengers. Ask yourself how they’d react if a wild situation were to suddenly occur. Amtrak recognized the unique inspiration-generating quality of time spent in motion when it offered train-based writing fellowships (a program that, sadly, no longer exists). Walking, a shorter and self-propelled form of transit, is also great for generating ideas.

2. Keep a travel journal

Many writers keep notebooks for their ideas. While traveling, if you want to capture stories from the road, bring a journal and try keeping track of what happens each day. Given the unpredictability that often accompanies travel, you never know when or how inspiration might strike. It might not be immediate, either. If you hold on to your travel journals, they might become sources for ideas in hindsight. Cheryl Strayed kept a journal of her time on the Pacific Coast Trail and came back to it 17 years later, reshaping the material into her beloved memoir Wild. 

3. Go on a writer’s retreat

There’s a reason for the popularity of writers’ retreats. Sometimes nothing gets the creative juices flowing like the fresh perspective provided by a new setting, with time and space away from your daily life. Getting out of your routine is one of the gifts of a writing retreat, and often the locales are inspiring in themselves. There are writing retreats for many different budgets and goals, from solitary cabins to vacation-like experiences that bring people together and incorporate exciting local activities.

4. Write about places you visit

Lots of good writing is born from journeying: the whole genres of travel writing and travel journalism, memoirs, poetry, and the list goes on. Writing about the places you visit is a great way to get involved and get to know people there, as I discovered while in the Northwest Territories where I made wonderful connections by writing about fashion shows and arts festivals for local newspapers and magazines. Visiting places can spark ideas for pitches to travel websites or magazines. If you write professionally, in many countries you can claim related travel costs as professional expenses for tax purposes. Some locales offer travel grants for writing and researching place-based projects. If you’re lucky, you might even break into travel writing that will send you somewhere to report from on the ground.  

5. Use the setting to fuel your imagination

Sometimes writers write about the places they visit, and sometimes they use travel to invent new places. If you’re writing speculative fiction, travel and worldbuilding can go hand in hand, as imaginary places are typically grounded in real ones. Would the Stillness of N. K. Jemisin’s Broken Earth trilogy exist, or be as convincing, without the author’s research trip to visit volcanoes in Hawai’i? Ellen Goodlett, author of the YA fantasy Rule, spent a year traveling the world with the Remote Year program while completing her novel. One of her interviews details how bits and pieces the places she visited showed up in her book’s imaginary kingdom.

Do you dream of writing and traveling? What ways have you thought of to combine the two? 

Continue Reading

SFF Book Recommendations and Aristotle’s Building Blocks of Writing

Writing is a holistic activity, but when it comes to honing our craft, it’s useful to break it down into parts. The June 30 episode of Writing Excuses, a podcast about the craft of writing that focuses primarily on fantasy and science fiction (SFF), introduced Aristotle’s elements of tragedy. These six aspects of writing apply to modern storytelling as easily as they did to ancient Greek plays. While Aristotle placed these elements in a specific order of importance, the authors on Writing Excuses argue that their relative importance changes based on what an author is trying to achieve. In my opinion, there’s no better way to make use of this theory than by looking at how it applies to books that do each element well. Below, I share how each element is used in an SFF book I recently read and loved. Take these examples as a starting point rather than a be-all and end-all. And, if you’re writing a work in progress, think about how Aristotle’s elements apply to it and which ones you want to emphasize. 

Aristotle ranked plot as the most important element of tragedy, and a tightly plotted yarn certainly keeps us reading. In Children of Blood and Bone, the divîner caste in the West African-inspired land of Orïsha have been brutally oppressed since the king eliminated their magic. Young Zélie finds a scroll that temporarily reignites these powers and gets caught up in a plan to bring magic back for good. This novel is tightly plotted and action packed. Each chapter ratchets up the tension, with gladiator battles, kidnapping, and an epic hero’s journey.

Three women take turns narrating this loose retelling of Rumpelstiltskin, and protagonist Miryem has the standout character arc. The daughter of a Jewish moneylender who is too softhearted (and frightened of persecution) to ask for his money back, Miryem resolves to turn around her struggling family’s fortunes and takes over her father’s job. She teaches herself to be relentless and drive a hard bargain. Her skills attract the attention of the mystical Staryk king, who wants to make use of her ability to “turn silver to gold.” Miryem’s evolution from daughter of a struggling family to skilled and hardened moneylender to strong-willed leader is a delight to witness.     

The Tensorate universe is founded on ideas. It has a carefully crafted magic system that involves entering the “slack” and “tensing” different elements to achieve effects. It’s a world where children choose their own gender in their own time and are considered genderless until then. Yang’s two novellas follow the twin children of this world’s dictatorial leader as they choose divergent paths, Akeha (Black Tides) becoming male and leading a rebel faction, Mokoya (Red Threads) becoming female and hunting monsters in the wake of personal tragedy. This intricacies of the magic and gender systems are fascinating and thoroughly explored. What happens when someone falls through the gaps, or thinks they know the rules but might be missing something? Yang has thought of that, too.        

One of the joys of an odd-couple cop story is the interplay between the pair. This novella’s two space sleuths are Long Chau, a consulting detective with a drug addiction and a hidden past, and The Shadow’s Child, a sentient spaceship traumatized from past military service who now makes a living (barely) by brewing and selling tea blends that keep customers’ minds clear in deep space. Long Chau approaches The Shadow’s Child for two things: tea and transport into the deep spaces that still trigger her trauma in order to find a corpse to study. The mysterious circumstances of said corpse’s death lead the pair to investigate. De Bodard’s dialogue is understated, with formal tones conveying the characters’ wariness around each other. Gaps in conversation show where they leave things unsaid and where Long Chau misses social nuances. At times, the characters are edgy and snarky:

 “I’m writing a treatise on decomposition. How the human body changes in deep space is a shamefully undervalued area of study.”

“I can see why you’d be a success at local poetry clubs,” The Shadow’s Child said, wryly.

There’s a lot to appreciate in this story, and the dialogue is one element that works to show evolution in the characters’ fragile trust.

Astrid has spent her whole life on the Matilda, a spaceship that has carried humanity’s survivors for generations towards a promised land. It’s a brutal milieu, divided by nation-like decks, where the lower deckers (intersex people of color) are subjugated and forced to work on the revolving plantation deck. Astrid discovers that the journals of her late mother, an engineer, hold a secret code and that the Matilda’s bouts of power loss and illness may be more significant than anyone realized. Astrid is a nuanced and brilliant protagonist on the autism spectrum whose formal diction sets her apart from fellow lower-deckers, and the inhabitants of each deck in turn are distinguished by their language. Solomon imbues each shipboard culture with its own turns of phrase, use of pronouns, expressions, and cadences. The music that gives shape to this novel’s worldbuilding is exquisite.

Spectacle means putting on a good show. Kuhn’s fantastically fun urban fantasy, the first in a trilogy (with a follow-up novella and more to come soon), is full of flash and dazzle. Evie is the put-upon personal assistant to superheroine Aveda, her longtime best friend. But when Aveda is injured in a demon fight, Evie is called on to impersonate her, and the fire power she’s worked so hard to hide may be the very thing that saves the day. In SFF, spectacle can happen through worldbuilding and description as well as through action scenes. The heroes in Heroine Complex fight fanged cupcakes, and one of the pivotal battles takes place during a karaoke contest. Bring on the popcorn!  

Continue Reading