Category: Out & About

BA’s Madison Utley shares her thoughts after attending the 2023 AWP Conference & Bookfair in Seattle. 

There are two primary ways to experience a room full of people attempting to do some version of the same thing as you; I thought I might be intimidated and that my latent imposter syndrome could very well make an appearance. Instead, I was struck by a fully articulated sense of: there is room for everybody here, creatively. 

Something Stuart and I discuss often is the notion that your creativity is inexhaustible. As a writer, you don’t have a finite amount of worthwhile words inside of you. Trusting that in your gut allows the creative process to flow, uninhibited, creating space for the important work of revision to take place and ultimately leading to a stronger, more robust final result.

That concept felt like it had applicability as I looked around these cavernous rooms full of writers and editors who are making money or aspiring to make money doing this, who are published or want to be published, who are incredibly experienced or brand new in the space. There was such range in how people are engaging with the writing world and the ways in which they’re trying to make a home for themselves here. The realization was liberation.

Why the hell not throw myself into the fray? 

There is no right way to produce or engage with art. I left AWP with the clear sense that no one present had some concrete secret I needed to get my grubby little hands on and the confidence there isn’t some hidden curtain us newer writers need to peek behind for it all to make sense.

It’s really just about bringing a doing energy to your writing pursuits. You can draw inspiration from a room full of creatives, but not be constrained by what they’re saying about their own journey. You can look to the writing community for guidance and encouragement, but not for a list of rules to follow to find commercial or artistic success. This is about you, and owning that you’re meant to be in the writing world because you decided to be here.

That confidence powers creative thinking, powers creative living, powers art.

Book Architecture’s very own Stuart Horwitz had the opportunity to moderate two panels at the 2022 Tucson Festival of Books. The authors who participated in the sessions have published novels across a swath of genres but, in their own way, each linked the success they have found in their careers to having identified and articulated the why behind their writing. Without that clarity and conviction, it becomes much harder to get a work over the finish line and into readers’ hands. Below is a compilation of some of their key thoughts from the TFOB panels and beyond. 

Beasts of a Little Land, Juhea Kim

Juhea is a writer, artist, and advocate based in Portland, Oregon. Beasts of a Little Land is her debut novel, but she is also the founder and editor of Peaceful Dumpling, an online magazine at the intersection of sustainable lifestyle and ecological literature. 

Juhea says, “Why do [I] write? No one ever asks me this but I repeat this every morning while taking a walk in my neighborhood. I write to save nature and reduce animal suffering. That’s the throughline of my work across genres (essays, journalism, short stories, novel) even when the writing in question doesn’t look like it has anything to do with nature. 

“Knowing the reason I write was what kept me from giving up whenever I was staring down yet another rejection. And it will continue to inspire me through the ups and downs of writing life.”

The Scribe of Siena, Melodie Winawer

Melodie is a physician-scientist and associate professor of neurology at Columbia University. She has published over fifty academic articles and contributed to several anthologies. For her, fiction writing is an invaluable outlet that brings balance to her otherwise fact-bound life. 

“The way I do scientific research goes something like this: I come up with a question I don’t know the answer to. I try to look up the answer. If I don’t find an answer, I look harder, and in more sources. If I still don’t know the answer, I ask colleagues with expertise. If no one knows the answer, or even better, if there is disagreement, or even controversy about the answer, that’s when I know I’ve found my next research project… 

“But in fiction, uncertainty is a foundation for invention. That means I get to make things up. And that is intensely pleasurable.”

Our Woman in Moscow, Beatriz Williams

Beatriz got her MBA in finance from Columbia University and worked as a corporate strategy consultant in New York and London for many years. 

She said, “The business career was something I was doing to be successful at, until I had the nerve to try what I really wanted. I was always writing. I was literally writing books on company laptops and scrubbing the files before I turned the laptop in. It was always what I wanted to do.”

Once Beatriz stepped away from her career to have her children, she decided it was time to prioritize her decades-long urge to write with more commitment. 

“I thought, it almost doesn’t matter now if I crash and burn — at least my kids need me and love me. Now that writing was no longer the most important thing, I had the guts to go ahead and try it.”

A Ballad of Love and Glory, Reyna Grande

Reyna crossed the US–Mexico border to join her family in Los Angeles as a young girl, a harrowing journey chronicled in her memoir, The Distance Between Us. For Reyna, the why behind her dedication to her writing career had a real urgency to it. 

She said, “When I discovered books, I felt that I had been saved. My childhood was full of things that were beyond my control. Books gave me an escape. I was able to hide in the pages of those books and for a moment get away from all the chaos around me. 

“Once I discovered Latino Literature when I was in college, the books I read helped me to define myself. I was Mexican and American. I could celebrate my Mexican culture while at the same time also feel at ease in the American culture. They helped me not to feel torn between the two.”

Both of these things helped equip Reyna with the tools she needed to write her memoir. 

“A lot of books about immigration are from third parties who are researching the topic, and they’re interviewing immigrants to write their experiences down, but it’s very rare when that immigrant gets to tell that story herself without having somebody else tell it for her. That’s what I’m really grateful for—that I can use my own voice to tell my own story. I wish more immigrants had that opportunity,” she said.

Island Queen, Vanessa Riley

In addition to being a novelist, Vanessa has an astounding number of degrees (like we’re talking: a doctorate in mechanical engineering and a master’s in industrial engineering and engineering management from Stanford University, as well as bachelor’s and master’s degrees in mechanical engineering from Penn State University). While her published novels are rich and varied, they are united in putting women and people of color–groups that have largely gone voiceless in history books and historical fiction–in the spotlight, reminding readers that they too lived and loved fiercely, and had complex and rich lives and legacies. 

Vanessa said, “Female-centered historical novels are having a moment, particularly when uncovering little-known histories. Resistance to these narratives, which cast heroines with agency, hidden talents and extraordinary achievements, has declined, but only after a hard-fought battle. 

“Perhaps women have won the war and we can pen stories of our ancestors without the dreaded attack of the old guard — a patriarchy accustomed to controlling the narrative and wielding the term “historical accuracy” like a weapon.”

The Christie Affair, Nina de Gramont

Nina is a professor of creative writing at the University of North Carolina, Wilmington. She is the author of The Last September, several young adult novels, and The Christie Affair which was her first New York Times bestseller. 

Nina diligently worked at her writing career for years, motivated and sustained by the why that was entrenched deep within her. 

Upon the success of The Christie Affair she said, “If this had happened when I was 25, I’d think that it meant I was really brilliant. Happening at 55, I know it means I’m really lucky. So I’m appreciating it, for sure.”

In September’s newsletter, I told you about a project I supported as a developmental editor: Aren’t We Lucky? Stories of Resilience from the InkHouse Community. What I didn’t share is that I was fortunate enough to be invited to contribute an essay of my own to the compilation.

Now it’s a daunting task to be asked to capture the essence of resilience in a 600-word essay, but I had a secret weapon. Because I was privileged to coach each writer featured in the book, what I wrote had the benefit of being inspired by all of them, and wouldn’t have been possible without them.

What I realized, in the end, is this: Resilience is already there inside you. It is more a matter of accessing it. You can believe in other people’s resilience as a reminder to them, maybe, or a placeholder, but you can’t inject it into them any more than you can motivate their blood to pump. It is something we must find our way to ourselves.

It’s not often in the Covid era that we get a chance to read to each other, so I’m excited to share my essay in this form here.

This post originally appeared on the San Francisco Writers Conference site.

Instinctively, we know that every draft is different. In the first draft, we can’t really be held responsible for the exact quality of what we produce; we just got here, ourselves. We are just trying to cover the ground. In the second draft, we might be learning the ropes a bit more. We can say what the better stuff is that we are trying to bring up another level. By the third draft, we are ready to polish, decide, and hopefully finish something.

On that we can likely agree. We can also likely agree that writing is more complex than 1, 2, 3. In this paragraph, for example, there are—at this moment—sentences that were written in the first, second, and third drafts of this blog coexisting next to each other. The ones in third draft form I should likely leave alone. The ones in first draft form need the most attention. Revision is about knowing what you want to work on, in part by knowing what you don’t need to work on.

Let’s say that you are writing a memoir. Your beta readers demand a new through-line, one that will really explain why you are so fucked up. No more trying to save anyone, including yourself. And you agree—but everything else is so…done. What then?

Asking for a friend. That was me, obviously, planting new seeds in a forest where the entire canopy felt taken. How to grow these seedlings up first, and then transplant from cup to pot, and finally to the memoir text itself when they were well developed enough to take care of themselves? I started by writing out the new scenes in longhand in a journal. Nothing could escape from there unless it had explicit permission, in the form of passages being photocopied and cut up, to then be typed in their own word documents.

Know what draft you’re in. That’s the simple message. And be fair to the earlier drafts. I have two children, aged 15 and 22. Just because I can’t expect the same things from my 15 year-old — like driving, or always remembering to Venmo request me for the money I owe her — doesn’t mean her essence isn’t as wonderful. Or that she won’t get there. She will, through encouragement, and patience, and time.

You can’t rush a good idea. But you can know where present material falls in your overall process. If it is first draft material, you can try it out, get the feel, make a start, and find your stride. If it is second draft material, you can take some new opportunities, go where the work needs your attention, and go further, break through. And if it is third draft material, you can come from the strength of what has worked, culminate matters, and trust yourself enough to let it go.

Because now you have the wisdom to know the difference.