This is just a quick announcement to say that my flash fiction story “Mother” has been published! It earned an Honorable Mention this year in the Spider Road Press Annual Flash Fiction Contest. If you’d like to read it, please click this link.
In related news, I’m super happy right now! Wheee!
This month is the book-iversary for Finis., and I haven’t had a lot of time to devote to it while I’ve been promoting The Sharp Edges of Water and starting the school year back up. But I have managed to get a few IG posts. I don’t know if they’re as visually dynamic as the one I made recently for SEW, but they do tell a little bit of a story in a series of three posts. My favorite part of all of this is that these posts contain new character cards for Elsa, Lois, and Gerard that were made by my daughter. Her interpretations of these characters go beyond what I visualized, and I really like them! I’ll let you head over to IG to read the accompanying text, but here are the visual details.
I am not a good photographer. I’m not even a mediocre photographer. I have trouble taking decent pictures of inanimate objects in natural light, let alone anything more complicated than that.
But I’m trying to make the effort over on Instagram to make worthwhile posts. Tonight I made a book post that I actually think might not be too bad. It took me a while. And since I don’t share nearly enough photos here on the blog, I’m sharing it with you here.
Earlier this summer, while I was in Maine attending an absolutely amazing writing retreat, my parents were in Lebanon. It has been a lifelong goal of my father’s to go there, to see his family there, to see the country his people come from. He was born here in the States, but he has always wanted to go over, and this year he finally took the chance to do it. He and my mom went with a handful of close cousins and a really big tour group.
For my father, this journey was a dream come true. He is a passionately religious man, so he loved that they visited numerous shrines and historical holy places of various faiths. He is intensely devoted to his family, so it was wonderful for him to experience it with his wife and cousins. We are deeply rooted in our Lebanese heritage, so going to see the country and its shores and its many important sites, and to eat its food at every meal and to attend a sahria at night and to spontaneously break out into dabke at lunch with many of the other tourists, was glorious. Two of our cousins occupied the presidency a few decades ago, and so to meet the current president was a little bit of a treat.
I’m happy for my parents to have made and enjoyed this journey, but what their experience taught me is that chasing one’s dreams — as hokey as that sounds, let’s be honest — is a worthwhile pursuit. Seeing the fruition of his dream inspired me to believe a little more confidently in my own.
I’m a hybrid author, as you may be aware. I’ve been published in a variety of ways, including independently, traditionally, and through small presses. One thing I’m still hoping to achieve, though, is agented representation for my literary fantasy novels. They are the biggest and broadest literary endeavor I’ve made to date, and I want to go the full traditional way with them if I can. And this week, that first novel is headed out my electronic door to agents. Wish it good luck, will you?
But it’s Monday. I’ve promised you an earworm.
This is probably my favorite Tom Petty song of all time, and I’m not gonna lie, the video reminds me a little bit of The Man Who Was Thursday by G.K. Chesterton.
What dream are you running down right now? Share it in the comments, if you would, so we can all wish you well on your path.
Today I have a few announcements: some upcoming readings and a sneak preview opportunity for you.
The most exciting news here is my upcoming event at one of Houston’s most beloved independent bookstores, Blue Willow Bookshop! If you’re going to be in town, definitely mark your calendars now for Saturday, August 17th, at 3:00, when I’ll be reading from and discussing The Sharp Edges of Water. This promises to be a fun event with an author Q&A––that’s right, bring your questions for me!––and door prizes and books galore! Even if you already have a copy of my book, come and pick one up as a gift for a friend or family member who likes to read or write. You can check out Blue Willow’s site here for more details. Their address is 14532 Memorial at Dairy Ashford 77079. I don’t mind telling you that the Blue Willow event is a Very Big Deal, and it would be really helpful to make a strong showing there, so please come out for it and pick up one (or more) of my books there!
Finally, would you like a sneak preview of my next book? I’m offering my readers the chance to get a free advance reading copy of either of my next two books––one fiction and one poetry, depending on your preference––before they’re published. You’ll even have the opportunity to give me beta-reader feedback on it if you’d like to! In order to take advantage of this offer, just post a review of The Sharp Edges of Water on Amazon. Now, if you follow the writing/publishing industry, you might have heard that Amazon has been taking down people’s reviews in an effort to remove illegitimate ones, though some genuine ones have been removed inadvertently in this process. I have not experienced this (knock on wood!) and also know that all my reviews are genuine and not planted (except for one baffling troll who posted a weird review of Finis. back in the day). Anyway, Amazon has changed the rules for how reviews get accepted. Fortunately, we know how to navigate their guidelines. You can watch a full explanation here, but I’ve summarized the basics for you:
To contribute a review on Amazon, you have to have spent at least $50 there in the last year, not including promotional discounts.
Amazon doesn’t allow reviews to be posted from people in the author’s household, or from more than one person connected to any same household or bank account or credit card.
Amazon doesn’t allow paid reviews, so your review shouldn’t indicate that you’ve received compensation for it.
Amazon deletes reviews that come in under two days after you’ve purchased a book from them because they assume you can’t possibly have read the book so quickly.
Avoid sounding too chummy with the author in your review: in other words, please don’t ever refer to the author by their first name only, but by either both first and last name or just their last name or “the author”; also avoid sounding “unbiased” by not indicating in your review that you regularly see the author in person or are friends with them in real life.
Thank you again for all your love and support, and I hope to see you on August 17th at Blue Willow! Bring your friends. And if you take me up on the review/ARC opportunity, send me a screenshot of your review on Amazon, then tell me which book (fiction or poetry) you’d like to get a sneak preview of. Until then~
Two years ago I did something for myself that was so far outside of my self-care comfort zone it changed me: I attended a writing retreat. That’s right, I left my family for the better part of a week and went to Maine to focus entirely on writing. While I was there, I realized that I hadn’t done anything so expansive to nurture my creative self in…well, way too many years. Definitely not since before I had my own family, and maybe not even then.
Last month, I went back.
The Moss Wood Retreats on Penobscot Bay in Maine are a gift to writers. Run by director and author Patricia McMahon, this experience gives you the chance to escape from whatever nightmarish summer weather you’ve been experiencing and settle in with a handful of other authors and just focus on your craft for several days. Two years ago I attended a workshop led by Gregory Maguire, which was glorious, but this year’s retreat, led by poet Josh Kalscheur and Patricia herself, was really different and completely fulfilling. Patricia has moved to a generative format, which means that the bulk of the group sessions focus on the generation of new material.
So most mornings we would have four writing exercises which included excellent prompts and then writing time, followed by voluntary sharing. In the afternoons we were on our own and could work on the pieces we’d written that morning; in the evenings during our after-dinner salons, we would share what we’d worked on, if we wanted to, as well as other poems that we found meaningful or enlivening. I also found time outside of these, including at night in my room before I went to sleep, to work on my own other projects if I wished. (I’ve been editing one of my novels this summer.)
I can honestly say this year’s retreat might have been the most productive week of writing I’ve had in a really long time. Aside from the novel work I did on my own solitary time, I wrote so much poetry. Possibly eight or ten of the poems I produced that week will turn into something publishable.
One of the fun exercises we did over the course of the week was to produce a collection of centos. At its simplest, a cento is a type of found poem in which all the lines come from other places. So every person at the retreat anonymously contributed a page of their writing, either a poem or a page of prose. We then browsed these pages and harvested from them lines we particularly liked and then fashioned those seemingly random lines into new poems. We shared these on our last evening together, and the centos were all so very different in scope and tone and subject! They were also delightful; I really loved finding out which fragments resonated with everyone. Here is my poem:
Moss Wood Cento Moss Wood Writing Retreat, 2019
Carnivals always start the same way:
three boys, three sharp-rocked beginnings
grabbing clandestine hand-holds;
spirits of slain warriors speaking from open mouths;
a tarantula stabbed with a stick;
the occasional hint of cabaret music.
Between the border of yellow birch and
the far shore of rockbound pine,
the tether of some other-than-temporal sea
pulls and pulls with the urgency of future demands
on the boy-man stashed behind the garage,
dreadful poverty and sadness floating across his face,
a grunt-crank biscuit in one hand and
a two hundred-year-old scroll in the other.
The memory of children’s cotton candied fingers
keeps his brusque demeanor at arm’s length.
He works in the negative, his pattern
a mystery to me, but a crease between the bridge
of his nose and his eyebrows is the absence
of sailboats long since stored for the winter.
Will we learn something by the weight of them?
He and I will never be young enough
again to think that friends don’t die.
You can keep your emptiness;
all I hear is sirens and defiance,
loud as a burst of gunfire through ghosts.
I’ve stopped believing in magic.
We are all dodging death,
scattered, secluded, incidents of light.
The phrase “two hundred-year-old scroll” is from one of my novels, a work in progress, but everything else in this poem came from the other nine people’s fragments. I offer my sincere thanks to all of them for their contributions to my poem.
Late on the last night of the retreat, a bunch of us new friends put on temporary Sherlock tattoos as a lark. (Mine read, “I never guess.”) Then around midnight, when three of us in the upstairs bedrooms were still awake and packing for our departures the next day, some spontaneous slumber party fun broke out. Two of the other ladies decided they wanted to see how long my hair really was and flat-ironed it for me. We squealed like adolescents as we did each other’s hair and helped each other pick out the clothes we would be wearing to travel in the next day — clothes we would wear home to Houston, to Louisiana, to Scotland. We shared pictures of our families from our phones and promised to write. And to write and to write and to write.
If I could, I would attend this retreat every year. It happens in early June, so if it sounds like something you would benefit from, put it on your calendar now. And if you want to hear more about this retreat and its marvelous director, Patricia McMahon, I’ll be interviewing her tonight on the LivingArt show on KPFT; the show begins at 6 p.m. central time.
While you’re waiting for that to happen, please enjoy these lovely photos of the landscape I looked at every day I was there.
I’ve been a little absent on the blog this past month or so because I’ve been traveling quite a bit for my writing. You’ll hear about some of my trips a bit later because I’m also on book deadline and neck-deep in edits for two projects. Wheee!
Last weekend, though, I attended DFWCon in the Dallas area, which is my favorite writing conference ever. It’s the only one I still make sure to attend every year, and it was recently voted the Best Writing Conference in Texas, so there’s that. (You can already register for next year, by the way, and the super early bird price lasts until July 6th. I recommend it. Just click on register and choose the 2020 option from Eventbrite.)
Aside from pitching to agents and seeing a bunch of my friends who don’t live in Houston and having the chance to network with other people in the writing industry, a good conference gives me the opportunity for professional development. Sometimes this means classes on craft, and sometimes seminars on the business side of writing. (I don’t want to give away too much just yet on projects in the works, but there’s a strong chance you’ll find Instagram and a podcast in my future.)
One of the highlights of the conference this year was meeting and hanging out with this guy, whose blog is one of my very favorites. His books on writing craft are also top-notch fun.
Among the most fun classes I attended there was Liara Tamani’s Poetic Prose, a subject I hold near and dear as a cross-genre writer. She talked about what makes lyrical prose stand out and gave us some exercises on how to create it ourselves. Although this is a subject I already know, I liked having the exercises to jumpstart my creative voice at 8:00 on a Sunday morning. I may be super conversational on the blog in an earworm post, but crafting lyrical prose in my more formal creative work is fun.
On the way home from Dallas, this song came on my iPod, and when Aaron commented on its layers, it occurred to me that some features in it are a pretty good example of this kind of writing. What’s your favorite line in this song? Leave it in the comments!
Also, if you have any favorite Instagram accounts or podcasts, leave those in the comments too. I’m interested.