Tag Archives: Bridgett M. Davis

Reading Room Xll

This page is for sharing links to things of interest around the internet. It’ll be sporadically updated; so, come back from time to time. For the previous reading rooms, use the search feature to the right, to the right.

VISUAL

“From its exposure, Negro Aroused (by Edna Manley) excited the public’s imagination and was acquired by public subscription and presented to the Institute of Jamaica to form the nucleus of an exhibition…” Read more about it here.

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From the MoMA website: “(Wifredo) Lam painted The Jungle, his masterpiece, two years after returning to his native Cuba from Europe, where he had been a member of the Surrealist movement. The work, ‘intended to communicate a psychic state,’ Lam said, depicts a group of figures with crescentshaped faces that recall African or Pacific Islander masks, against a background of vertical, striated poles suggesting Cuban sugarcane fields. Together these elements obliquely address the history of slavery in colonial Cuba.” See it here.

INTERVIEWS

“The Irish were the bastards white, so even they were black” – McDonald Dixon says this and other interesting things in this interview with Vladimir Lucien.

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“Of course you have to love music. It’s unlikely you’ll ‘make it’ in the first couple of years or make a whole lot of money, so you have to build your career and work hard to make it grow. It takes time to let the world know who you are, so if you don’t really love music then it is best not to get into it.” – Etana’s talking music but this applies to writing and probably all the arts. It’s not an easy road but the passion drives it. Read her full interview here.

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“Don’t let fear of blundering hold you back, either—accept that you will likely blunder, and that to err is human. We all make blunders, but learning how to apologize and do better next time is also very important. Learn to listen and respond politely to feedback before you publish, and to change what needs to change. And learn that even after doing all you can, you will make mistakes. Learn from them and move on to do better next time.” – Tu Books editor Stacy Whitman on writing outside of your race and culture; and other issues at the intersection of publishing and diversity. Read the full interview and find out what her imprint is looking for as well.

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“I’m not convinced that this is something I can live on. I have the time and space to do this now, but in terms of writing being viable I’m still not sure. I’m still not published yet.” – Sharon Millar in the Trinidad Guardian, 2013. Her first book The Whale House and Other Stories, reviewed right here on the blog, was released in 2015.

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Uncomfortable exchanges typically make me uncomfortable …but this one amused me. Jean-Michel Basquiat being interviewed by Marc Miller… and sorta not there for some of his questions. It’s worth watching the whole thing.


STORIES

“She was a widow and she had no close relatives to write to in the evenings, and more than one moving picture a week hurt her eyes, so smoking had come to be an important punctuation mark in the long sentence of a day on the road.” F. Scott Fitzgerald is best known for The Great Gatsby. This is another of his writings, a short story entitled Thank You for the Light.

AUTHORS ON PUBLISHING

“Know this: no time is ever wasted. Every year you spend on your work is another opportunity to document your creative journey, and grow as a writer. Now why would anyone impose a time limit on that?” Read more.

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“But it’s still essential for an agent to be a good negotiator. Why? Because it’s the agent who negotiates the initial offer (that’s what you’re paying them for!), not some hired contract professional. And often that necessitates some savvy pre-negotiating skills during the offer stage—before a contract is even generated. For authors further along in their careers, this is a given; they know it needs to be done. It’s not a maybe. And if your agent is not a good negotiator, you can see pretty clearly how that is going to impact your level of success and your long-term writing career. Your agent might not know how to do this.” – Kristin Nelson with Karen Dionne on what makes a good agent.

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“I am not saying that my grandchildren are brilliant beyond words. I am not suggesting that you use your grandchildren for proofing, though it might not be a bad idea.  Rather, it’s a post to warn you about the importance of proofing, even of 500 words; the challenge of  self-publishing – it is essential to use professionals even if you, yourself, are a professional, or perhaps because you are a professional, and too confident by far. (That’s why you should also use an editor.) I tremble to think what might have happened, had I not unexpectedly (magically) come to Barbados.” – Diane Browne blogging about transforming her Commonwealth award winning story The Happiness Dress into a picture book.

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“It only takes a couple of these poems for you to sigh whenever you see certain themes emerging from the words in front of you.” Read on to find out what themes make Oyez Review editor Hilary Collins sigh. And if you still want to submit, knock yourself out.

POETRY

“And what is praise but the offering up of one’s self…” from Let this be Your Praise by Tanya Shirley

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Mindy Hardwick was one of the very first bloggers to interview me when my book Oh Gad! was getting ready to come out. And for a writer way under the radar of the big publications and critics (even the ones right here in the Caribbean) that usually cover the literary world, bloggers and readers posting online reviews have been invaluable to whatever ripples I’ve made in the water. We’ve never met but she’s been on my radar ever since. Recently, I read on her blog about this project she’s involved with, the Denney Juvenile Justice Center Poetry Workshop. I have a friend, Brenda Lee, who runs a similar project at 1735 (Antigua’s prison) without the kinds of resources suggested by Mindy’s donor funding list which includes the BECU School Grants, Greater Everett Community Foundation, Terry & Cheryle Earnheart Fund for Children, Tulalip Tribes, Everett Public Schools Foundation, and the Blanche Miller Art Exhibit Program. Because there’s really next to no support for the kind of project that Brenda has going (I don’t know of any support for the project than that of Gender Affairs under whose umbrella she does this volunteer work). I’ve shared here on the blog some of the poetry Brenda’s interventions have helped the incarcerated produce. The purpose of this post is to pass on some of the work Mindy has shared from her workshop (but I also want folks to keep in mind the work B has been doing here at home too). Both projects I’d venture have the ability to do a lot of good and, frankly, these kinds of arts initiatives need more support. If through the arts we can get the incarcerated to start thinking about their situation and giving voice to their feelings, then maybe we’ll begin to do more than cycle them in and out. The poems shared by Mindy, written by Teen Boy, suggest as much. They are One Last Chance and Fake Faces.

AUTHORS ON WRITING

“I never feel more clueless than when I’m asked for wisdom…because I’m still terrified with each sentence, with each word I write! I do believe you have to write for yourself and not for others, that in your writing you have to reach for what frightens you,  that you have to be a good literary citizen and support other writers. That you can’t wait for the Muse to show up and invite you over – you’re the hostess, you have to sit at your desk first, and start the party all on your own. Other than that…just keep the faith.” – Tara Ison

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Mary Robinette Kowal posted this writing/puppetry exercise that’s entertaining to watch even if you don’t try it. Check it out.

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“Exploring inner lives/outer facades, character wardrobes, and sleeping conditions are just three ways to begin to layer your characters in exciting, memorable ways.” – Kathleen Shoop tells you how at Writer’s Digest

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“Whether it’s your manuscript, your author bio, your book description, or any of your other marketing materials, it’s important to keep them free of errors so your readers can focus on the most important thing: the content.” – Maria Murnane with grammar tips.

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“Being lonely and beastly had little to do with getting into writing. But the solitude did help. As well as the misery through secondary school. I had plenty anger to get out. Thank God it didn’t have Facebook back then, else I woulda waste all that anger and emotion, scouring for ‘likes’ instead of moulding it into creative writing.” – K. Jared Hosein on how he became a writer and a beast.

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“And so I reached for empathy. Writers know about imagination, but it takes something more to truly occupy our constructed characters. It takes a conscious process of empathy, of asking ourselves – how would I feel if I were a young boy bullied at the standpipe every morning? What emotions would this catalyze? How would my future look from the mud beside the standpipe? For many months I went to bed with potential scenes in my mind, seeking the feelings that went along with them, and I wish I could tell you I had dreams of my novel in embryo, but I didn’t. Trust the darkness, I would tell myself staring into it, channeling Anthony Winkler’s advice. And somehow, that conscious commitment to empathy brought me words when I sat at my computer each morning, seeking the mind and heart of a twelve-year-old inner city boy. Were they true words, the right words, in the end? That is for a reader to decide. Over the years of Dog-Heart’s gestation, I learned that empathy was different to sympathy and I was far more familiar with the latter. In a place like Jamaica sympathy is frequently aroused. As I tried to understand my main character, I realized I needed more than sympathy. Sympathy is simple – something appears painful to me, and I feel sorry. Empathy seeks a more nuanced understanding of where another stands. Empathy is less willing to decide what is good or bad.” Read more of Diana McCaulay’s reflections on empathy and tapping in to character, when that character is so unlike you.

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“Writing the novel was much more about confronting uncertainty and the unknown. As I began to write, ideas, themes and characters slowly emerged. I had no idea that I would end up writing a scene where my main character butchers a deer, but as I began to explore her situation and the emotions she was battling with, it suddenly seemed strangely inevitable.” Read more about what Lucy Wood learned while writing her first novel.

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“Unreliable narrators tell a story in a way that is misleading or distorted. The unreliable narrator’s version of the story is skewed from the true understanding of the story.” Read Mindy Hardwick’s tutorial on wrestling with the unreliable narrator.

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“I LOVE seeing the craft in action. I love seeing students clear away the cliches, overwrought verbiage, the excess adverbs, the ridiculous formality, and just…express. Trust their writer’s eye.” – Leone Ross

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“Write where it hurts.  Write where it feels real.” – Jen Falkner, Why It Works: Making Guava Jelly by Sharon Millar

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“A huge amount of information about character and backstory can be conveyed through small detail.” – Sarah Waters, Tips on Writing.

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“you must now enter the silence alone and listen
Wait
Wait for the translation of the first line
Write
Write with your fingers searching the pigments on the palette…” John Robert Lee talks writing with Vladimir Lucien (both of ST. Lucia)

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“It’s about the degree to which we allow ourselves not to censor and do the work we should do on the page, and take the risk that we should. To do so without apology is my directive.” Read more of Myriam Chancy’s very interesting, very enlightening interview not just on writing but on the history and philosophy that informs it and informs some of our lives and reality as Caribbean people.

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This space is usually reserved for writings I come across by other people. But I was reading a piece just now on dialogue and I’ll share it. But it occurred to me that this is something I’ve written about to, posted to  my blog, and so though I don’t usually recommend writing by me in this space (because who does that?), I’m giving in the urge to share it in case you’re not following both blogs. So here’s what Maria Murnane wrote and here’s what I had to say on dialogue. My post is about listening, her post is about saying it out loud; I do both actually and like her I have been told that the dialogue is realistic so hopefully I’m doing something right. Anyway, just sharing.

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“Later, I read out what I had written to the rest of the group, received a fantastic reaction from them and, more important, the motivation to carry on.” – author John Teckman on the workshop experience. Read the full.

As with all content (words, images, other) on wadadlipen.wordpress.com, except otherwise noted, this is written by Joanne C. Hillhouse (author of The Boy from Willow Bend, Dancing Nude in the Moonlight,  Fish Outta Water, Oh Gad!, and Musical Youth). All Rights Reserved. If you enjoyed it, check out my page on Amazon, WordPress, and/or Facebook, and help spread the word about WadadliPen and my books. You can also subscribe to and/or follow the site to keep up with future updates. Thanks. And remember while linking and sharing the links, referencing and excerpting, with credit, are okay, lifting whole content (articles,  images, other) from the site without asking is not cool. And using any creative work without crediting the creator will open you up to legal action. Respect copyright.

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Reading Room X

Like the title says, this is the tenth reading room. Use the search feature to your right and the term ‘reading room’ to find the others. Nine came before, pack-full-0 good reading: poetry, fiction, non fiction, and some visuals too. Good reading makes for good writing. So use the reading rooms like your personal library and enjoy. And remember, keep coming back; they’re never finished. As I discover things, things get added. And don’t be shy about sharing your thoughts re not only what you read here but also possible additions to the reading room.

POETRY

“De sun come idlin’

over de hills,

removin’ de shadows

from de tree limbs…” The poetry of Antiguan born poet Althea Romeo Mark, from her collection Palaver. Read more.

BLOG

“Reading inspires me and reminds me how much I love everything about literature. It makes me eager to join in the conversation.” – Tayari Jones. Read the full at her website.

INTERVIEWS/DISCUSSIONS

“Stories are incredibly powerful. They shape our understanding of history, culture, and ourselves. It’s why readers of all ages clung to the viral hashtag #WeNeedDiverseBooks recently: Seeing an honest representation of someone who looks like you when the world reflects a different norm can be life affirming. It says that your story matters. This is a fact that Andrea Davis Pinkney, an award-winning, bestselling children’s author and a vice president and executive editor at Scholastic, knows.” Read the profile and interview with Pinkney here.

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“In st lucia to a large degree the artiste has to create the kind of society that appreciates art” – Vladimir Lucien interview at The Spaces between Words.

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“I always wanted to be a writer. I did want to be a great violinist, too, but I had no ear or talent for it.” READ MORE of this Anne Rice interview.

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As well as directing The Coming of Org, you were also responsible for shooting, editing and scripting it. Will you continue to oversee every element of your work like this, or does it get quite exhausting?

It is quite exhausting, but I am a control freak, which is not good all the time because you don’t get enough distance from the project. Now, as I have stepped away, I see areas where I could have made the film much better. It is my first narrative film so I hope to learn from this experience; in follow up projects I want to focus on directing and writing… maybe editing too, but I can’t guarantee that I won’t shoot as well.

READ The Missing Slate’s full interview with Davina Lee.

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“My challenge to other publishers of Caribbean children’s titles would be: try and make books available throughout the region and beyond, make them affordable, translate as many titles as possible, and especially help create a literature with the readers in mind, not in a monolithic sense of “Caribbean,” but rather giving margin to different forms of expression that might work at regional levels. That means taking chances on local unknown writers and illustrators who may do well connecting with and inspiring their communities, if given a chance to reach them.” – Mario Picayo, publisher, Editorial Campanita/Little Bell Caribbean, participating in a discussion over at Anansesem on Broader, Better Conversations for Caribbean Children’s Literature

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Oonya Kempadoo interview on her book All Decent Animals.

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“She would later reveal that for her, writing was the pursuit of the perfect sentence and as well as an attempt to bring something new into the world. The laughingly stated that the hated learning that someone else had thought of something before she had.” – Read more of Kwame Dawes interview with Jamaica Kincaid at Calabash on the Susumba website.

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10 x 10 podcasts, a series of 10 minute podcasts with presenter and journalist Rosie Goldsmith. In each podcast Rosie spends 10 minutes talking to authors from five different parts of the world. This includes from the Caribbean region Jamaican writer Lorna Goodison and Belizean writer Ivory Kelly.

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This is one of my favourite writers Edwidge Dandicat (whose Farming of Bones and Create Dangeroulsly are among my all time favourite books) talking about another of my favourite writers Jamaica Kincaid (whose Annie John, My Brother, and Lucy are must-reads in my book). She also reads two Kincaid shorts including a personal favourite which I have actually used in workshop, Girl. Listen here.

NON FICTION

The essay featured in this post is the Texture of Fiction and in this excerpt you get to sample the texture of Kei Miller’s writing: “I remember a tree in Jamaica that bore as its fruit, prophecies. That’s what it seemed like to me. The tree was in a dust bowl right outside of my high school and there must have been a man or woman who used charcoal to write words like ‘Repent’ or ‘The Prime-minister must fall’ or ‘Know ye this day who you shall serve’ on squares of cardboard. These cardboard signs were hung up in the tree, and the branches had become overburdened with them, like a mango tree in season. Sometimes the wind would rattle these words, the cardboards would hit against each other, such a strange and terrible sound, as if angels were crowded together, back to back, and were beating their wings.”

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This edition of Antigua and Barbuda’s Historical and Archeological Society’s newsletter has information on early villages, traditions, why Guiana Island is an ecological gem (something to think about, all things considered), and the Silston Library – have a read: HAS Newsletter 2015 FINAL

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“What am I supposed to say to her?” I ask. “That it will get better twenty years from now? It sure didn’t get any better for me.” Read all of Saving April by M. J. Fievre.

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“To permit a book, to read a book, is not enough. We must engage with its history. Ask who challenges a text and for what reasons. When we read a book, let’s read with a mind for its censors: what is that thing inside The Things They Carried that stirs a parent’s need to protect?” – See more at: On Tim O’Brien’s The Things They Carried | PEN American Center

INDUSTRY TALK

“Write the best short story you can, submit to competitions and be ruthless about the quality of the piece. Of the millions of short stories written, there are a handful that are good enough to catch the attention of readers, and if they are good enough to do that an agent will be interested. Practice is essential – not every short story written, even by an experienced writer, will be good enough to be published, so working through any idea until you feel it can be held up to the light is part of the process.” More from literary agent Lucy Luck.

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First there’s this “It felt like possibility. It felt like hope” and then there’s this “I thought about where I submitted my work and what the editors would think. I imagined how the piece would fit in with the journal’s aesthetic. I wondered whether or not my work was too experimental or too trite or too coy. I worried that my work was too wrong for the journals I submitted to, too wrong for any journal, really, too wrong to be read by anyone at all.” Eventually, you realize though “(it’s) out of our hands.” – Emily Lackey on submissions.

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“I’m not sure where the idea got seeded that author platform equals social media, but it’s time to dislodge that from your head if you believe it to be true. Social media alone is pretty ineffective at moving people to action.” Read what else is needed.

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“Before I started working on the editorial side of the publishing industry myself, I had no idea how long it took for the publishing cycle to complete its orbit around a book.” – Jonathan Eyers on Understanding the Publishing Process.

ABOUT WRITING

“You give your character opinions, needs, likes, and dislikes; you give him fears, joys, anxieties. Let’s call these ‘personality markers.’ What are her pastimes, fantasies, hopes, memories, and preoccupations? Be sure that some of these are not connected directly to theme and story. Diversify. That’ll avoid creating a character who seems controlled by the needs of her creator, simply a representation of a type. A protagonist might be a lawyer, but certainly not all her waking hours will be spent thinking about the law. These personality markers serve to add surprising and interesting layers to your characters that may indirectly connect to the needs and movement of your story and the themes that compel you.” Read More.

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LIke Bridgett M. Davis infers in this piece, there’s no rush; you finish your novel when you finish it. So ease up on yourself. And keep writing.

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Writing Advice from C. S. Lewis.

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On building a collection and breaking with old habits, by Abby Geni.

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“The opening line is a promise to your reader of the type of tale about to unfold.” Read more of Opening lines: Rules of Engagement by Shelley Jones.

 

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