Writing Communities

Writers need people. We need community. Or as they say, “It takes a village.”

Truly.

In this Thanksgiving Season, as publication date of my book gets closer, I reflect on my journey as a writer and the many people who have contributed to my development as a reader and a writer. Many have inspired me, nurtured me, taught me, challenged me. They may be family, friends, readers, other writers. Writers must carve out time to write in solitude, but we cannot thrive without community.

My mother was a reader and took her children to the Honolulu Public Library. I fell in love with words and stories. Reading was addictive and I borrowed as many books as I could. The freedom to explore all the books in the library fed my curiosity. As a result, I love libraries and librarians are my heroes.

Raising a child is one thing. Raising a reader who chooses to be a creative writer is quite another. 

I am grateful to the many writers I’ve met and the writing events I’ve participated in over the past  twenty years. These are only a few. However, every event has contributed to my growth as a writer. And has led me to publishing my first book The Lava Never Sleeps: A Honolulu Memoir.

With many thanks to Willow Books and Aquarius Press, publication date is March 1, 2019!!

Meeting other writers and learning from each other can be exciting. It can bring unexpected rewards.

Writing groups have been essential to my growth. I am not the most disciplined writer, so our meetings have served as catalysts for writing, compelling me to produce something to share in our meetings. I learn so much from the other writers as we read and discuss their writing, as well as when they provide feedback on my pieces. 

One important lesson I learned is that while I hold the story I’m writing in my head, all the details in my head may not always get transmitted to the page; I need to read and reread my work carefully to ensure that the reader has what’s necessary to follow what’s happening. Writing groups have given me valuable feedback on what’s working and not working.

Someone in a writing group told me about the Port Townsend Writers Conference and I decided to apply. I dived in and took my first creative nonfiction workshop from Bill McKibben and Sue Halpern in 1997. This was my first foray into writing workshops and a very positive one. I felt validated to be accepted into this group of writers.

A decade later, Cristina Garcia took over as artistic director for this conference, and diversity flowered, both in faculty and students. Instead of being the only writer of color, I witnessed a conference peopled by many cultures, many colors and did workshops with Chris Abani and Denise Chavez. Too many conferences are too white. For any writer, especially an emerging writer of color, having other writers of color in the room, not only validates their voices, but also their dreams as writers. Garcia later moved on to organize Las Dos Brujas Writers Conference in New Mexico, then in San Francisco. 

Another writer informed me about  Hedgebrook, a writing retreat for women writers on Whidbey Island. In 2000, I was very much a beginner, but decided to complete the application even though I expected to be rejected. I thought it would be good practice, that I could apply again. I really had not intended to write a book, but during the application process, I began to envision the possibility of a book. I was surprised and thrilled to be given a residency in 2001. During my three weeks at Hedgebrook, I began to organize my writing into a manuscript with the title Once Upon An Island. 

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Hedgebrook took me seriously as a writer. Even though I had no publishing credits and had no completed pieces, they treated me with extraordinary respect and appreciation. This was life-changing for someone full of self-doubt. I began to feel like an authentic writer.

Hedgebrook opened up a whole universe for me. I did my first public reading of my writing at a Hedgebrook-sponsored event. On my list of writing workshops and conferences, I can draw a straight line from Hedgebrook or Hedgebrook alumnae to half of these events. I also found alumna Priscilla Long to edit my memoir, and she encouraged me to submit it to university and independent presses. The alumnae network has been a surprise bonus, an active force and a gift that keeps on giving.

One example is the VONA Writers Conference (Voices of our Nation Arts Foundation), which HB alumna/author Donna Miscolta recommended. I took a Creative Nonfiction and Memoir Workshop in 2007 from Elmaz Abinader and Faith Adiele; all the writers and instructors were people of color, the first conference where I experienced this kind of support and where I didn’t have to explain myself.

In 2008 I decided to set aside my original manuscript because it wasn’t working, and I wasn’t sure how to fix it. I began a new memoir from scratch. When Hedgebrook began offering master classes, I heard about a Master Memoir Class with Faith Adiele, and I knew I had to go. This was in 2010. IMG_3647

Faith asked me an important question. I workshopped a piece about sexual abuse and used only the initial of my abuser: “Mr. K.” Faith asked me an important question: “Are you still being silenced by not naming him?” I realized I had a choice and decided to provide his full last name in the manuscript.

I also met Janice and Connie here. We decided we wanted to continue to meet and support each other’s writing. We lived in three different cities–me in Seattle, Connie in Atlanta, and Janice in Santa Barbara. We met virtually on Skype once a month for 2-3 years. In addition, my Seattle writing group was meeting every other week. 

Two years later in 2012, I completed a first draft of my memoir The Lava Never Sleeps: A Honolulu Memoir.

In 2013 I attended a CNF Writing Conference in Oxford, MS. I attended a workshop led by Dinty Moore. HB alumna/author Allison Green had recommended it. Lee Gutkind was the  keynote speaker. Vanity Fair acknowledges Gutkind as “the Godfather behind CNF.” Cheryl Strayed’s memoir Wild had been published to wide acclaim in 2012, and Gutkind discussed the opening first page of her book, how it hooked the reader. I had completed my first draft at this point and decided to draft a similar first page.

I am fortunate to live in Seattle where there are so many literary events and opportunities to grow as a writer. Another writing community I want to mention is the Jack Straw Writers Program, which focuses on getting work out in the world through a series of readings, assisting writers in using their voices and a microphone, preparing for public readings. Thanks to another HB alumna Felicia Gonzalez, who invited me to apply for the 2014 program, I was able to participate in an amazing experiential learning opportunity and be part of another enriching writing community.

From writing bits of vignettes to completing a full-length book, I know I could not have progressed as a writer without my various writing communities, including It’s About Time, the monthly reading series at the Ballard Library founded by Esther Altshul Helfgott and currently directed by Peggy Sturdivant. We learn just by hearing the words of other writers. We learn as we present our own words. I often revise when I have to read my writing out loud.

My current writing group is Cake Quartet, a mixed genre group that includes Esther Altshul Helfgott, Ann B. Hursey, and Trish Honig. I have dabbled in poetry in the past, but consider myself to be a prose writer. My writing group has provided essential support in my creative life. And poets Esther and Ann have introduced me to more poetry like the Haibun, which combines prose and haiku and opens me up to new creative possibilities. 

This is what I love about creative communities, you never know where they will lead. It can lead to honing craft, to breakthroughs in writing, to publication or reading opportunities, to new forms of writing….  To a writer with the expertise to create a chapbook (Ann) or to bake a cake from scratch (Trish)!

I give thanks for my writing life and my writing communities!

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