Helping All Our Stories Flow: Why YOUR Gift Matters TODAY

 credit for all photos:  Justin Patchin Photography

credit for all photos: Justin Patchin Photography

B.J. Hollars

In the fall of 2002, as a prospective student at  Knox College in Galesburg, Illinois, a creative writing professor named Robin Metz sat across from me at a table and said, "You, my friend, might have what it takes to be a writer." Only later did I learn that he hadn't actually read a word I'd written. (Why would he have? I was a prospective student!) But the sentiment was still true.

Maybe I did have it!

Also…maybe not.

But at 18, what he said was what I needed to hear most: he planted the seed of a possibility, and he dared me to dream it to be true.

Robin Metz died on November 27, 2018.  He leaves behind over half a century’s worth of students.  I count myself lucky to be among them.

Robin taught me many lessons, though the most important was the one he shared with me late one fall evening in 2014.  I’d returned to campus to visit my alma mater, and while there, crossed paths with my mentor outside the campus library.  It was dark out, the stars shone overhead, and I was so caught up in the swirl of nostalgia that I asked Robin I question I’d never considered asking him before: “What’s the most important lesson we can teach our students?”

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Robin leaned in close, and in a voice that bordered on a whisper, said, “It’s your job to persuade students that their stories matter.  And that ultimately, all of our stories flow into the very same river.”

Spoken like a true poet.

Though, of course, I know exactly what he meant.

Since February of 2016, the Guild has worked tirelessly to do just that: persuading writers of all levels and genres that their words matter.  We’ve hosted dozens of craft talks, dozens of readings, published two issues of Barstow & Grand, created the 6x6 Reading Series, the Sound and Stories Series, The Weekend Writers Retreat at The Oxbow, Cirenaica Writers Retreat, as well as a brand new venture to be revealed shortly. 

Along the way, our work has been recognized at both the local and state level.  Most recently, by our invitation to become a member of the Wisconsin Poet Laureate Commission, a commission whose charge it is to serve as a “statewide emissary for poetry and creativity,” in addition to selecting the state’s poet laureate every two years.  We’re proud to join the ranks of so many literary leaders, including the Wisconsin Academy of Sciences, Arts and Letters, the Wisconsin Humanities Council, the Wisconsin Fellowship of Poets, the Wisconsin Center for the Book, the Wisconsin Arts Board, Write On, Door County, and the Council for Wisconsin Writers.  Our role on this commission speaks to the good work we’ve accomplished both at home and afar.  And with your help, that good work will continue to grow.

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It’s hard to measure the work we do .  Do we measure it in publications?  In programs?  In partnerships?  Or by way of the nearly $25,000 economic impact we contribute to our local economy year after year?

My preferred measurement is by way of people.  How many lives have we touched?  How much writing have we supported?

If, as Robin Metz says, the most important lesson we can offer is to persuade people that their stories matter, then how many people have we persuaded?

Moreover, if all our stories indeed flow into the same river, then how wide must that river be?

Please.  We need you.  Make your tax-deductible gift today.

Together, we’ll make that river overflow with words. 

Write & Publish Captivating Narratives: A New Workshop Hosted by Elizabeth de Cleyre

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As our writing community grows, so too do our opportunities! Elizabeth de Cleyre, in partnership with Odd Humyns—a new store and workspace from Odd Brand Strategy founders Serena Wagner and Elle McGhee—has just released information on a new workshop opportunity right here in the Chippewa Valley. Read on to learn more, and how you can be a part of it.

1.) Tell us a bit about your new 5-week writing workshop.  What are some of the subjects you're most excited to share with writers?

This new workshop for School of Odd is a crash course in writing and publishing, and over the course of five weeks we'll read and discuss short pieces, workshop one another's drafts, and generate new writing. It's structured so the six participants cover all the bases of reading, writing, and critical reflection, and do so in an ongoing, consistent form. The goal is to get people to generate habits over these five weeks that they'll be able to continue after the class is done. 

I'm most excited to cover literary movements and voices that resist categorization or are hard to pin down--such as hybrid works, autofiction, and corporeal writing. There's so much potential and possibility in writing right now, whether you're generating new work or seeking innovative methods for revision. Ultimately, this workshop is a possibility space, and I'm eager to what each writer brings to the table. 

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2.)  In your program's description, you note 21st century writers' struggle to maintain "attention" in a content-flooded market. Without giving too much away, what should writers do to bring attention to their work? Is it a matter of content, form, platform, or publication outlet?

Annie Dillard wrote, "the impulse to keep to yourself what you have learned is not only shameful, it is destructive. Anything you do not give freely and abundantly becomes lost to you."

So let me answer this freely and abundantly: If you, as a writer, want people to pay attention to your work, then you must pay attention to your work. For me, that means building a consistent writing practice, and investing in my education by studying writers whose work I admire.

It may sound reductive, but when we consistently read and write we become better readers and writers, and when we become better, more consistent readers and writers, the leap from writing to publishing becomes that much easier. I'm not afraid of giving too much away because it doesn't feel like much of a secret to me, especially here in Eau Claire, where there are countless examples of writers who pay attention to their own work. (I've also noticed in Eau Claire that writers who focus on their own work are often also excellent supporters of the work of others.)

We can sweat over Instagram, Facebook, and Twitter algorithms to promote our work all day, but if we're not paying attention to our own writing, we're hard-pressed to make progress on it. Yes, the internet brings with it a flood of new content, and while some writers see that as a detriment (read: more competition), I see it as a huge opportunity. The final lesson in this course is about how to take your writing out into the world of publishing, so we'll discuss how to cut through the noise and get your voice heard.

3.) Your workshop will be held at Serena Wagner and Elle McGee's newly-opened Odd Humyns space--a shop and studio space in downtown Eau Claire.  Can you share about this exciting collaboration?  Are there opportunities for future offerings in this space?

I'm insanely honored to count Serena and Elle as collaborators and friends, and one of the main reasons I asked Odd Humyns to host is because of their commitment to building an inclusive space. Writing is sacred and personal to me, and in order for the writing workshop to be a possibility space, all participants need to feel safe, honored, and know their perspective is valid. 

As for future offerings, School of Odd and Odd Humyns are planning on a bunch of different workshops, courses, and events throughout the year, and they are open to pitches from folks about offerings. Their aim is to act as a well-rounded hub for all creative mediums, including writing in its many forms. (Definitely keep your eyes on their Facebook - https://www.facebook.com/oddhumyns/

I'm personally excited to see where this workshop takes us, and I'll use participant feedback to craft new courses that align with School of Odd. Since I recognize that not everyone is available to meet in person, I'm also exploring an online-only version of the course. On a somewhat related note, Serena, Elle and I are at work on a zine/journal tackling the topic of the 'creative economy.' 

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4.) Finally, tell us a bit about you!  Favorite book?  Favorite writer?  Favorite piece of writing advice?

I'm a NH-native, a former Portland, OR transplant, and somewhat hard to keep up with. I started a book club at Red's Mercantile when I moved here in 2016, which then prompted me to co-found Dotters Books. As an editor and publishing consultant, I've guided over 70 authors to publication and worked behind the scenes of literary magazines. When not writing (or reading), you can find me behind a sewing machine, making made-to-measure clothing for clients. (I have a knack for analog endeavors.)

Nicole Krauss wins the title of "favorite writer" for me, as her novels are some of the few works I re-read in full, especially Great House and Forest Dark

As for writing advice, something Charles Baxter said in his 2017 lecture at the Chippewa Valley Book Festival has stayed with me: "sublime confidence." 

To register and learn more, click here!

Poetry, Pizza, and Politics with Eau Claire City Council Member Emily Anderson

 Dr. Emily Anderson

Dr. Emily Anderson

by Chloe Ackerman

Under the pen name, Max Howard, City Council member Dr. Emily Anderson wrote her novel Fifteen and Change. This book follows a boy named Zeke, who works at a pizzeria and chooses to join the fight to raise the minimum wage.  I had the opportunity to sit down with Anderson and talk to her about her new book. Anderson described how the topic of having a living wage is significant to her life and experiences, how she wrote the book in several forms, including villanelles, and how it is difficult to identify genre while creating literature. 

To celebrate her book, on December 19th, Emily Anderson will be having a book reading, with pizza, at The Plus on Barstow Street in Downtown Eau Claire.

CHLOE ACKERMAN: What made you want to write the book Fifteen and Change?

EMILY ANDERSON: It’s directly personal to me because I’m a writer and also an academic. Right now, I have a Ph.D., I can get a job, it just won’t be a living wage job. I was involved with a fight for living wages for graduate students and adjunct professors while I was in Buffalo, New York getting my Ph.D., so that was a personal fight. One of the advantages of that fight, or one of the things that I drew strength from, was that we were also coordinated with a Fight for 15 Movement. We were protesting in solidarity with fast food workers and others in the service industry, and that was really great to be a part of that broader labor struggle, so I was kind of carrying that in my mind. The second thing is the knowledge that 43% of kids in Eau Claire schools now are in the ALICE statistics, which stands for Asset Limited, Income Constrained, Employed. Basically, low income affects 43% of Eau Claire residences, and that’s so many children in our schools. Many kids are in a position much like the character Zeke in my novel who are really struggling with all the problems that economic inequality can create. I wanted to write something that reflected what is a really common experience that gets treated as a very unusual or special experience. The overarching structure of the series that the book is a part of is on social issues, and that is the one I felt I had the most personal connection to. 

In addition to other forms, This book makes use of the villanelle, which are 19-line poems. How did you go about writing this book within such confines?

For me, writing is easier when there are some limits or some constraints. Each little poem is about 50 words, and I had to do exactly 192. I kind of had a sense of what should happen every 20 poems or so to add a movement or pace to the narrative. I mapped that out and then went in and put those smaller pieces together, so it made structuring the narrative really easy, which was great. I write prose fiction as well, and I feel like I learned a lot about saving myself some time by knowing how many words something should be. I normally work more organically so having an imposed structure helped a lot.

Do you see any crossover between your work as a council member and your writing?

So much. I am motivated by the same concerns of wanting to make the world a fairer place and wanting to do my best to amplify the voices of people that are fighting for equality. So that’s definitely a motivation that I share, but I also think that the work of writing is actually really similar to politics. One thing I think of a lot is, the poet, Percy Shelley, who called poets, “the unacknowledged legislators of the world” because it’s creativity that breathes life into an idea and once an idea has life, or momentum, or energy, it captures people’s imaginations that’s what it takes to change the world. I think you see that a lot in politics, for good or ill, that people use language in imaginative ways, and it captures people’s hearts. This stuff happens whether it’s good or it’s bad. It’s a real power.

Is there a person or something that has influenced you a lot in your writing or in your work?

I think I wouldn’t have been able to continue being a writer if I didn’t have amazing teachers, friends, and family members that are always encouraging me and supporting me. I think I have been really lucky with the kinds of relationships I have in my life, and I don’t think that I would be able to persist in a rejection heavy career if I didn’t have people that have my back. 

What do you hope your readers will take away from this book?

One of the things that I try to emphasize in the book is that when Zeke becomes more directly active politically, it’s because he loves the people around him. It’s something that he does with a spirit of both love and also playfulness, and it’s this idea that getting involved and making change happen can be something that is playful and happy. It has to do with love and good feelings and not just like some abstract principle, and it can be a baby step and not necessarily a big step to make a difference. 

What question would you like to be asked that gets at the core of you as a writer and/or your writing?

One thing I’m thinking about a lot as a writer these days is the question of form or genre. I never know when I start a project what the form or genre is going to be. That’s something I learn as the ideas form and come together. I feel like people ask, “What do you write? Do you write fiction? Or do you write poetry?” And I always have a hard time answering that question, because I don’t know what something is until I am done making it, and even then sometimes I don’t really know exactly what it is. I think form communicates with content in a way that makes the genre a challenging thing to pin down. 

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Is there anything else you would like to share?

Yes! I have a book party on the 19th of December, and anyone can come. It is going to be at The Plus at 7:00pm, and there is going to be pizza because my book is about pizza. 

Traveling 34 Years through UW-Eau Claire Summer Theater History with Wil Denson

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by Chloe Ackerman

Dr. Wil Denson is a professor emeritus of theater arts at the University of Wisconsin-Eau Claire, and in his new book Life Upon the Wicked Stage”: Director’s Cut he recounts the summers that he spent working with the Summer Theater in Eau Claire, Wisconsin. He describes the plays, the good times, and past traditions, as well as all of the people he worked with over the years. 

Denson’s book allows those who were once a part of Summer Theater, or those who were in the audience of a Summer Theater production, to relive the time that was shared. It is also an excellent record of some of Eau Claire’s art history. In this interview, Denson talks about his process writing this book, how writing books differs from writing plays, and what it was like to relive his experience with Summer Theater while writing his book. “Life Upon the Wicked Stage”: Director’s Cut, can be found at The Local Store, or it can be bought directly from Wil Denson by mailing $15 to Wil Denson, P.O. Box 1828, Eau Claire, WI.

CHLOE ACKERMAN: What made you want to write your book “Life Upon the Wicked Stage”: Director’s Cut?

WIL DENSON: Over the years, a number of people have suggested that someone should write an account of Summer Theater here in Eau Claire. Since I was the person most closely associated with it, the writing seemed to fall, logically, to me.

Also, University Summer Theater closed in 1998, twenty years ago last summer; the time seemed right.

I wanted to ensure that the memory of our work was not lost. I worked with Summer Theater for over twenty-five summers, and it formed a large and important part of my life. For many seasons, Summer Theater WAS MY LIFE. I didn’t want it forgotten.

Finally, hundreds of UWEC students were involved and deserved to be recognized.

This book is nonfiction about the history of the UW-Eau Claire Summer Theater. Although you were with the program for much of the time that it was running, was there any research that you had to do to write this book? Did you learn anything or rediscover anything that surprised you in the process of writing this book?

I joined the company in 1966 during its second summer. And, although I knew and worked with personnel from the first summer and with people from every year thereafter, my memory was not sufficient for everything I hoped to include. 

Therefore, I spent about five months reading old newspaper reviews and articles, interviewing former personnel and examining production programs and photographs.

My greatest surprise in researching came in discovering the sheer number of people who had gone on to success on the national professional stage as well as in Hollywood film and television. I hadn’t actually forgotten these past people, I’d been in contact with many of them over the years, but I didn’t realize how many there were.

In the book, you mentioned plays that you wrote, Company 10 Musical, Life Upon the Wicked Stage, Remembering the Valley, and many others for the Summer Theater to perform. What is your process for writing a play? Does this process differ from writing other types of literature, like this book for example?

It’s difficult to describe the playwriting process in a short space, plus I suspect each writer works differently. I began with an idea that I hoped was viable, a story that would sell tickets. (In choosing stories for Summer Theater, the very specific EAU CLAIRE AUDIENCE was taken into consideration. What were they most likely to be drawn to?) Then I roughed out “an action” – what happens in the piece, the plotting, the setting, characters, etc. For our situation here in Eau Claire, my next step was determining if the idea was possible: could we financially afford the scenery, costumes, etc., and could we find actors, designers, director and technicians who were able to successfully bring the work to our stage. (Some ideas are simply too hard or too expensive to produce.) 

Next, I tried to put the ideas and characters on paper, actually writing the dialogue, describing the characters and scenery, presenting the action, etc. 

Finally, of course came the proofreading, edits, an infinity of re-writes, etc. (A huge advantage in writing for our own theater was the possibility of doing re-writes with the piece already on stage in rehearsal; if we found that something didn’t work as anticipated, I could re-do an act or a scene on the spot and make it more suitable).

The chief differences separating playwriting from other writing forms are its reliance on dialogue, its dependence on visuals and its immediacy. A playwright has to continually show the story to the audience; they cannot tell the plot the way a fiction writer does, the action must be seen. The playwright must ‘place the characters in action, doing something.’ A character is revealed best by what they do. 

Too, the ‘live audience factor’ features in prominently. In a film or novel nothing can be altered; what is written on the page or seen on the screen is set in stone and cannot be changed. But in a play, audience reaction is possible and hugely important; a production changes from night-to-night. A playwright is able to take advantage of this.

Since this book covers a lot of your life and you experienced and saw a lot of what was in this book, what was it like to write “Life Upon the Wicked Stage”: Director’s Cut?

What struck me most in doing the book was how much the writing took me back in time. Every day when I sat down for my three or four-hour sessions of work, I was transported back in time, back to summer mornings thirty-five or forty years ago. I vividly remembered people and places and shows I hadn’t thought about for seemingly a lifetime. Writing the book became an exotic time-travel-like experience for me. (When former actors and technicians heard I was working on the book, many of them contacted me, and we rekindled old friendships and shared old memories, thereby furthering my feelings of time travel).

What do you hope that readers will take from this book?

I hope the book brings back memories of our thirty-four years of productions, of opening nights and strikes and rehearsals. I want readers to recall the hundreds and hundreds of people involved in Summer Theater and the thousands of performances we gave. I hope it brings back a smile and a memory.

Is there anything else that you would like to add?

Given the changes in economics and audience tastes, it seems unlikely Summer Theater as we knew it can ever return to Eau Claire. Everything has become too expensive, too difficult, too complex. Audience tastes have changed; people have moved on with their careers; the competition has become too intimidating. TV offerings, film, sports, local music festivals, etc. all are greatly expanded and have become too difficult to compete with.

But Summer Theater accomplished what we set out to do. Over fifty of our people now work professionally on Broadway, in Los Angeles, Chicago, and Minneapolis. Hundreds of our student actors, designers, directors, and technicians were able to learn more about their craft. Thousands of Chippewa Valley residents came to enjoy and appreciate the art of theater more due to our work. The number of then-young children who saw our work and decided to launch their own careers in theater has been tremendously gratifying.  

Looking back, our thirty-four summers became golden to me and, I hope, to the community – but can never return. 

(If you read the letters in the back of the book, you will gain a better appreciation of audience reactions.)

The theaters of the Chippewa Valley were all influenced by our work. For example, the Chippewa Valley Theatre Guild, the Eau Claire Children’s Theatre, Fanny Hill Dinner Theatre, etc. were all conceived and initiated by former UWEC-Summer Theater performers, directors and technicians. Summer Theater at the University was in large part the start of theater in the Valley. I’m very proud of that.

Finally, during the several readings/book signings I’ve done throughout the area, it’s been extremely gratifying to meet former performers and technicians and to hear about their families, lives, and successes.

Dear Writer - November 2018

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Dear Writer, 

I keep hearing people talking about a writer’s “voice.” What exactly does that mean? And how do I know if my writer’s voice is any good? And if it isn’t good, how do I find my voice?

Sincerely,
Lip Syncing to my Own Words


Dear Syncing,

I, too, have wondered what the hell people were talking about when they talked about finding one’s own “voice.”  When I was starting out as a writer, it seemed to me to be the kind of thing teachers said when they couldn’t think of anything else to say about my work.  I mean, how could I not write in my own voice?  Whose voice was I writing in, if not my own?  The mailman’s?  Some roving phrenologist’s?  Did I somehow inadvertently sound like that guy sitting alone at the end of the bar, drinking Jack and Cokes and shouting out wrong answers to Jeopardy?  Should I write the way I talk, I wondered—should my work be full of sentence fragments and mild stuttering and swear words?  Or should I write the way I sound to myself when I’m thinking?  What an incoherent and obscene jumble that would be!  

But then I started thinking about voice as I read the work of other writers, and of course, I noticed a few things.  First, some writers are capable of doing all sorts of voices—they’re regular impressionists, now writing from one character’s point of view, now another, then again in a kind of neutral, authorial tone, two books later in a completely different voice again.  Other writers seem to have a distinct style that they use in story after story, book after book.  Think of the great stylists of the early-to-mid 20th century—Hemingway, Faulkner, Joyce and Woolf, for starters—you’d know their work anywhere.  But is voice the same as style?  Is that what we’re talking about?  

Well, yes and no, to my way of thinking.  I think ultimately voice is made up of a few things: diction, which is to say the words you use, the size and scope of your writer’s vocabulary.  Do you use simple, common words, or big, fancy Latinate words?  Or some mix of the two?  There’s also syntax—how you string a sentence together.  We all do it a little differently, it seems to me—we fall into syntactical patterns that become, over time, stylistic markers for our work.  I like multi-clause sentences, as you can probably tell, with lots of punctuation (and even the occasional parenthetical statement).  But I also like to mix in some short sentences.  Fragments, even.  Good writers pay attention to rhythms, too—where the natural, spoken emphases come in a phrase or a sentence.  And then there’s tone, of course—some writers manage to keep a very neutral tone, while others may sound angry or sardonic or urgent or conspiratorial, and so on.  

Ultimately, though, I think I was right to begin with.  For better or worse, whatever you write, you write in your voice.  Even if you’re trying to imitate or parody someone else, unless you’re an unusually brilliant mimic, it will still probably sound like you trying to sound like someone else. That voice may change over time—you may find ways of doing things that work better and seem more natural or more compelling—but no matter what, you’re going to sound like yourself, and, with a little luck, a better, smarter, more entertaining version of yourself.  

And maybe that’s how you know if it’s any good: would you, as a reader, want to spend an hour with that voice?  A day?  A week?  Could you be naked with that voice?  Would you want to hear it when you’re eating, or in bed, or sitting next to a crackling log fire with a nice scotch on the rocks?  Or would you find it tedious, annoying, full of clichés and lifeless dialogue?  Does it natter on with too many big words and extraneous commas, perhaps?  Is it, as Dorothy Parker is supposed to have said, not a book to be set aside lightly, but one to be thrown with great force?  If even you can’t stand the sound of your own voice, it may be time to re-think your career as a writer.  But if it seems okay to your ear—mostly in tune and on key, as it were—then maybe it’s time to get feedback from your smart friends (don’t bother showing it to your dumb friends; they won’t get it), from other writers, and from teachers and agents and editors, too, if those opportunities arise.  With time and work and constructive feedback and lots and lots of reading and thinking about how other writers do things, that voice will develop of its own accord, like a bodybuilder’s biceps develop with weight training.

All of which is a long way of saying, just write the story.  Or the poem.  Or the essay.  Don’t try to sound like someone you’re not.  Don’t try to sound a particular way, even.  Just be you, telling a story.  That’s your voice.  If people like it, it’s good.  If they don’t, then maybe try to sound like someone else, and see how that goes. 

Best of luck,
Jon Loomis

Winter Is Coming...And So Is The Winter Writers Retreat!

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Update: SOLD OUT!

by Emma O’Shea 

As the winter weather rolls in, freezing leaves off the trees and blowing fog out of our mouths, so comes the Winter Writer’s Retreat. With it, the creative minds of published authors and ambitious writers looking to hone their talents and discover new insight into the world of writing. As a way of exploring our own writing and writing in different genres, the retreat gives an opportunity to nestle into the winsome Oxbow Hotel and center our attention on our passion of pen to paper. The weekend allows writers of all genres to spend time away from the day-to-day tasks and tap into our creative reservoirs. 

The retreat embraces advanced writers and those who are just beginning to explore their own writing. Wherever you fall on the spectrum, all are welcome. With an agenda that is purely focused on writing and soaking up the atmosphere of The Oxbow (and delicious food of The Lakely), it is the perfect haven for anyone who has an inkling towards writing. 

Each year the Guild weekend retreat, hosted by BJ Hollars, invites different authors from around the region to be featured. They’ll discuss writing techniques during craft talks and work with fellow retreaters in workshop. This year, we’re excited to offer plenty of different perspectives and published authors from a variety of genres. A. Rafael Johnson, author of The Through, is one of our writers-in-residence. Johnson comes with a fresh perspective on our ideas of writers, challenging the stereotypes we sometimes intimidate ourselves with when contemplating who we are as writers, both beginners and seasoned alike. Johnson says, “In America, the arts - particularly writing - is too often thought of as a solitary pursuit. We've romanticized the lone wolf writer, alone in a garret with a typewriter who produces a work of singular genius. But I ask, when did isolation outweigh conversation? I'd like to reconsider the role of artists and writers in society, as people who put their gifts of imagination in service of their communities. We are the ones who can imagine something different, something better than what we have now. If we don't, no one will." Expect new ideas on how to approach writing and how to hone skills throughout the retreat nestled in The Oxbow. 

Whether this is your first retreat or it’s a tradition dedicated to the love of writing, please join us at the perfect retreat as we approach the winter season! 

Details

EARLY BIRD RATE: $215.95 Flats / $240.95 Main House

Cost includes Saturday night lodging, breakfast, lunch, fruit, cookies, muffins, coffee, drink ticket, live jazz, and mini-group workshop (capped at 5), as well as all craft talks and instruction. Room upgrades available; ask, too, about special writers' rate for Friday night lodging as well.

EARLY BIRD DEADLINE: December 31, 2018

RATE STARTING JANUARY 1, 2019: $235.95 Flats / $260.95 Main House

RETREAT DATES: February 2-3, 2019

Space is limited!  Reserve your spot today!

Behind The Scenes at "True North"

by B.J. Hollars

What happens when you bring together some of the region’s best storytellers, musicians and multimedia creators?  That’s what Nick Meyer and members of the Volume One crew were determined to find out.  The result—True North—will be performed live in the JAMF Theater at the Pablo Center at the Confluence on November 16th and 17th.

What is True North?  For one, it’s not your run-of-the-mill storytelling series.  Rather, it’s a highly produced, carefully curated evening of, as its website notes, “authentic stories, dynamic multi-media, and curious collaborations from some of our favorite writers, filmmakers, performers, artists, and musicians — all live on stage.”

 Jodie Arnold

Jodie Arnold

The show will feature a range of storytellers, including Nick Butler, Kobi Shaw, Ward Rubrecht, and Jodie Arnold, all of whom will share some of their most poignant and powerful stories alongside a live score produced by S. Carey.  Adding to the ambiance will be “signature pieces” of film, multimedia, animations, and other live artistic performances.  In short, the show’s a true collaboration of true stories performed live.  And at the direction of Jake Lindgren, surely audiences are in for a treat.

“This is truly a complete multi-media experience,” True North performer Jodie Arnold says.  “For lovers of a good story, this will bring it to life like never before.”

As writers, the question of how far we can stretch a story—and how we can enhance it by way of collaborating with other arts—is always at the forefront.  It’s one thing to write the words on the page, but how do we give them life beyond the page?  On November 16th and 17th, you can find out.  Click here to watch a teaser for the show, and here to order your tickets today.  And remember, the show’s only the beginning of your True North evening.  The afterparty at the Pablo is another opportunity to share your own stories, as well as reflect on what you’ve just seen, heard, and experienced.  

Exploring Children’s Literature, Writing Processes, and Libraries with Rob Reid

 Image: Volume One

Image: Volume One

by Chloe Ackerman

Librarians open doors and create portals to thousands of possible worlds. Rob Reid has worked much of his life to show to young kids that libraries are fun places. When he worked as a librarian he toured libraries and performed raps that he wrote using the names of children’s books. Now he’s a professor at the University of Wisconsin-Eau Claire where he teaches how to use children’s literature to future educators.

Rob Reid explains his process and motivation for writing the songs, activities, and musical activities for his new book, 200+ Original and Adapted Story Program Activities, in this interview.

CHLOE ACKERMAN: What has had the most influence on you as a writer?

ROB REID: I have always been a writer but not always a published writer, and I found that my published niche was writing for my peers. Before I came to the university where I teach children’s literature, I was a children’s librarian in public libraries both here in Eau Claire and in Pueblo, Colorado. I came up with a lot of original ideas to kind of encourage kids to come to the library and hopefully make them lifelong book lovers. Then I found out that my peers were really interested in what I was doing. Then I made a connection with the American Library Association. They have a publishing arm called ALA Editions and they bought my book Children’s Jukebox which was a subject index of children’s recorded music. So if a daycare worker came in and said they want a song about friendship or frogs there wasn’t any research tool like that out there. I listened to about 200 children’s recordings and divided up the subject headings. I found the publisher then when that book was published they said, “what do you want to do next?” Which is something you want to hear an editor say. Then I was doing multigenerational story programs for grandma and grandpa or mom and dad and the kids and we called it family story time. That was the second one. I was lucky to find that publisher because then they kept saying what’s your next idea and so I have published 13 books with the ALA. This is my 20th book overall and 13th with them. The marketing editor and I are calling it the lucky thirteen. 

What is your writing process?

I basically pitch an idea to an editor, they say let’s go with it, then we set up a deadline that looms over my head for a year. I don’t write well without a deadline, and sometimes I do other kinds of writings too, so I do my own little deadlines. I find that kind of crucial for me, and it helps to be in a teaching environment as well because you have deadlines all the time. It helped my writing to quit the library field and come over here to UWEC because I used to work a nine to five job. I had four kids at home, they are all grown up now, and once everybody was done eating and in bed, I would try to write at night and I was exhausted. Over here at the university, I can have an early morning class, a mid-afternoon class, and in between grading and meeting with students I’m still fresh, and I have an hour or two to write. So that is helpful. 

What is your process for writing the songs, dances, story programs, and activities that go into your books?

I sit in a chair and a lot of the material comes because I want to match an activity with a particular children’s book. This is what librarians do with story programs and then follow it up with a finger play, musical activity, or a movement activity. You probably grew up knowing “The Wheels on the Bus” and “We’re Going on a Bear Hunt” and I got tired going on a bus or going on a bear hunt over and over, so I started “We’re Going on an Elephant Hunt” and it created that new version of that old thing or instead of the wheels on the bus it’s “The Wheels on the Sports Car”. 

It’s not all just adaptation, it’s a lot of original stuff too. I’ll have a picture book in mind, and I’ll think back and I go “what would be a fun activity to do with it?” I like to fill up a legal pad with just broad ideas, then put them together, go to the computer, and take different verses that work well together then read or sing them aloud. It takes several passes before I finally have something. Then I like to test it on somebody besides myself. When my kids were little they were around so I could test it out on them. My wife is, unfortunately, the person now. 

As I say, in one of my books I get as much satisfaction coming up with a little four-line poem as I do with a 50,000-word book. A lot of it is poetry, it’s almost all poetry if you boil it down. I get a lot of inspiration from camp songs and things like that. I do a lot of audience participation stories where the kids make sound effects to an original story. A lot of it is just sitting back in a chair and just having a pen and a paper and just starting to scrawl stuff. 

Are there any lessons that you hope the teachers, librarians, parents, and kids who use your programs and activities will take away from this book? 

The main thing is that the library is a fun place to go. I did a lot of outreach as a librarian with these activities and stories. I would get in front of groups of kids, and if nothing else if they see me and say, “hey, there’s that guy from the library,” and tell their parents, “let’s go down to the library.” You try to make lifelong library users, and, I’ve written about this in Volume One, libraries are as relevant today as they have ever been despite everybody thinking the internet’s here, we don’t need it. You know the L. E. Phillips Memorial Library had 400,000 people go through their doors last year. Almost half a million people, so don’t tell me the library is not relevant. 

Why do you want to write this book specifically?

I used to have a contract with Library Sparks Magazine where in every issue I would have an article, like a lesson plan for Story Time, and I would always like to have original stuff in there. Then the magazine went out of business, and I’m kind of at the age now where I don’t write like this as much anymore; I have other writing projects that I am putting my energy into. So I realized that some of the older books that are 25 years old or so, they’re not necessarily out of print, but people aren’t buying them as much now. This would be kind of fun to pull all that material that people might not have access to anymore and put it in one place, kind of like a one-stop shop 200+ ideas for mostly a children’s librarian, or it could be a parent or a teacher to use with kids. We collected them all together. Like here I have a bunch of “Hello” activities divided up into different themes “animal”, “my world”, and “the literary world”, that’s where I put the library raps. We have some spoonerism stories, that’s where you take parts of words and flip them around so I have some original ones of those. Instead of telling the story of “Little Red Riding Hood”, I tell it as “Little Rude Riding Head” and throughout the story, it’s “Once a time upon there was a gritty little pearl named Little Rude Riding Head…” then the kids try to decipher it. Then there are some “Goodbye” activities too, and I have a picture book called Wave Goodbye that’s based on a poem, “Wave high, wave low, I think it’s time, we gotta go. Wave your elbows, wave your toes, wave your arms, wave your nose…” That kind of stuff. We reprinted the lyrics of that in here, too. The idea was that rock star’s have greatest hits albums, so that’s like my greatest hits album. 

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Is there anything else you would like to share?

People will probably gawk at the price a little bit. It’s a pricey book because ALA Editions is a publisher geared towards institutions versus individuals. So schools buy it, libraries buy it, you can get it right now through ALA Editions Publisher, I just checked Amazon they don’t have a price listed yet, but they will have it up there soon. If you gawk at the price, then that’s understandable, it’s $50, but it’s a lifetime’s worth of material especially if you are working with young children. 

Dear Writer - October 2018

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Dear Writer,

I finished the first draft of my poem/short story/novel/essay over a year ago. Since then, I’ve revised it on my own, and I’ve incorporated feedback from my workshop group. Three drafts later, here we are. I love the idea of being done and moving on to writing something else, but I’m terrified that the second I submit my piece for publishing, I’m going to notice some obvious issue in my work. How do I know when my piece is done?

Yours truly,
Third Draft’s A Charm


Dear Third Draft’s A Charm,

Almost three years ago, I saw a call for contributors to an online publication that I had been reading and admiring for years. While my confidence in my craft was still developing, I figured I had nothing to lose by simply submitting something. I researched past articles to get an idea of the content they published, and I jotted down ideas I hoped would feel unexpected, compelling, and would make me stand out among the other applicants. After lots of consideration and even more trepidation, I settled on and submitted my sample piece about my love of the movie The Sound of Music. To my surprise and joyfulness, the two sisters who started the publication were impressed and asked me to join the writing team. My experience with them was my first encounter with the power of creative communities, and I continued to contribute regularly for about two years.

The first piece I published with them was a sort of love letter to my mother, which, looking back now, was neither particularly fresh nor compelling, and it certainly had room to grow. That being said, at the moment of publication, it meant something to me, to my fellow writers, and most importantly, to my mom. Additionally, if we aren’t constantly seeking growth, then we really aren’t challenging ourselves as artists. It is important to remember that sometimes a piece can appear technically or stylistically unfinished, yet the heart of what you are seeking to say shines brighter than any fumbling or doubt you experience. As cheesy as it sounds, sometimes it is all about trusting your gut; it can be more valuable than all of the workshop critiques and machete-style revisions combined.

Of course, the finality of submitting something for publication can often feel terrifying, and it is almost inevitable you will second guess your work after pressing “send”. Ultimately, though, I would argue it is better to take the risk of sending something off than to force your work to float in the in-between because, honestly, it is rare that a piece of writing is ever truly “finished”, especially in the writer’s eyes. I used to think if I published or submitted something, then that piece could be filed away in a drawer to take a nice, long nap, but I have learned that is almost never the case. There are poems I have published that look completely different now than they do in the book and that’s okay! Our work, like ourselves, is constantly growing, and we can honor that while also giving it a chance to be recognized or left alone. At the end of the day, you will never truly know if something is finished, but you can take the leap to find out if someone else thinks it is!

Sincerely,
Katy Hackworthy

The Story’s The Thing: Jason Smith Craft Talk Recap

by Emma O’Shea 

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Jason Smith

Inside Eau Claire’s L.E. Phillips Memorial Public Library, as a storm raged outside, a captive audience listened to Jason Smith speak about how to pull readers in and think outside the box as a writer. As editor of Wisconsin People & Ideas magazine and associate director of Wisconsin Academy of Sciences, Arts and Letters, Jason gave craft talk attendees a few tools to hone the skill of writing a good story and getting published. 

  1. Use the barstool approach when pitching to a magazine or publisher. This is a quick pitch that captures the interest of the reader. It reveals the “why” of the story and concludes with a proposed outcome while relating an individual story to a larger cultural climate. 

  2. Pay attention to the outcome of the story. What do you want the reader to come out with? The reader could make an informed decision about the piece, feel inclined to engage, or take action and tell others.

  3. When trying to get published, look at the values and content of the magazine. Research what they publish and think about how your contribution could add to their publication. 

  4. In the process of going from pitch to paper, incorporate any feedback you received while giving your pitch and build an outline around the theme versus telling the story chronologically. You want to reflect a humanness of the subject and show the reader what is happening. 

  5. A good lead is made up of surprising facts, compelling quotes, declarative statements, and endearing anecdotes. As Jason puts it, a bad lead is like a poppy seed stuck in the speaker’s teeth; it’s distracting and leaves the reader only thinking about the lead. 

  6. Elements of a great piece include no more than three sections of the main narrative and smooth transitions between sections. You also should have clearly articulated themes and a conversational tone that keeps the reader going. 

  7. When crafting your piece, it’s best to avoid using dead-end details, meaningless idiomatic phrases and prepositional phrases that lose the interest of the reader and dilute the story that you are trying to tell. 

  8. Work with your inner-editor-self and go over your piece! Check your facts and read your writing aloud to make sure your piece is error free. 

  9. When looking for help, look local, take it online or get some help via editors or published writers who can give you the insight that you need. 


To see more of Jason’s tips on how to write a compelling story, here is the PowerPoint from his talk: https://www.dropbox.com/s/1069zoh9w5u6l5r/Smith_Storytelling%20Talk.pdf?dl=0

An Interview With Amanda

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by Emma O’Shea 

This past week, I got to chat with Amanda Zieba; a young adult novel author, professor and avid writer. We talked about what she has in the works for her new publishing venture, her opportunities for writers on her website and the content of her blog. 

Emma O’Shea: Can you delve into the phrase "word nerd" and how it correlates to your style of writing and teaching?

Amanda Zieba: I love everything about words. I love their power, their precision, their diversity. I love the entertainment and joy they bring into my life. I love consuming words and using them to create. Words are amazing. When it came time to write my author bio and set up my website, these themes emerged again and again. I decided to call myself the “word nerd” because it satisfyingly encompassed all the ways I love words, and succinctly defined me.

Can you tell me a little bit about your venture with KWiL publishing and what you're working on now?

KWiL is a new traditional publishing company in Milwaukee. I met Abby Nies Janowiec, the founder and president, at a Society of Children’s Book Writers and Illustrators (SCBWI) event last year, and we hit it off right away. Throughout the past year, we have been working on taking the exciting concepts of geocaching and regional/state facts and molding them into a “read it again” worthy early chapter book. The first book in this series is in the nearly-finalized manuscript stage (illustrations soon to come!) and has a planned release date in spring 2020.

What book(s) have fortified you as a writer?

My answer for this question isn’t going to quite match up with the project I mentioned above, but the overall lesson is something that has deeply impacted me as a writer. Author Kimberly Brubaker Bradley wrote the Newbery Honor Award-winning novel, The War that Saved My Life and its sequel, The War I Finally Won. These novels have been very instrumental in my thinking as a writer. In them, Kimberly tackles very tough topics. Neglect, war, alcoholism, reactive attachment disorder, self-worth, physical disabilities. This woman is fearless on the page and does not back away from anything. And yet, she is gentle. At no point in time do her stories feel inappropriate or inaccessible for young readers. And THAT skill truly amazes me. Holly Black is another children’s writer who tells honest stories about hard things in a way that does not “dumb it down” for kids. Kate DiCamillo is yet another. It is their stories of real life, told honestly for children, that fortifies me not only as a person but as a writer who aspires to do the same.

Could you tell me a bit about your blog and what got you started?

I love my blog. I am proud of my blog. I probably spend more time writing my blog than anything else. Every Wednesday I post a piece of writing wisdom. It may be a tip or technique, or about a helpful resource I found, or an inspiring book I read. Sometimes I share writing prompts or pieces of a workshop that I have taught. Occasionally I share a short story. I post a lot of different things, but the intention and purpose are always the same. TO HELP WRITERS. When I first started taking my writing seriously (about seven years ago) I was hungry for writing wisdom. But everywhere I looked, help seemed inaccessible due to distance, price or exclusivity. It was so frustrating (not to mention demoralizing). Now that I have some knowledge, I want to share it. Not only that, I want to make it as easy as possible for people who are interested to get it. So, I give it away, one piece at a time, one Wednesday at a time, on my blog.

What does literary citizenship mean?

Being a good literary citizen means contributing to the literary world in any positive way possible. Not sure what I mean? Look at the Chippewa Valley Writers Guild. The Guild is a role model literary citizen. Through planning events, lifting up writers, sharing literary news and resources, offering residencies and so much more, they are making the literary world a better place. THANK YOU CVWG! Being a literary citizen is awesome because, in addition to helping others, you are also able to grow and learn and experience writing in new ways.

Are there any new opportunities for writers in the works?

One opportunity I am really excited to share is Story Seedlings. Writing a story is hard work and knowing how to start can sometimes feel like the biggest part of the battle... especially when you’ve never written a story before. Story Seedlings is a digital download product that features 24 prompts that will help you construct your story, one scene at a time. Specific story elements that are covered include characterization, world-building, conflict (internal/external) and resolution. In addition to the prompts, I offer tips and resources to enhance your story. Story Seedlings is also an excellent way to build a daily writing habit.


If you want to know more about Amanda’s work and her opportunities such as Story Seedlings, check the links below! 

Chippewa Valley Book Fest's Past, Present, and Future: An Interview with Fest Co-Chair Mildred Larson

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by Chloe Ackerman

The Chippewa Valley Book Festival began on Monday, October 15th and goes through Thursday, October 25th, spreading literary events across the Chippewa Valley. The festival’s lineup includes a variety of events like writing workshops, dinner discussions, events for children, and much more, so there is something for everyone!

I had the chance to sit down with Mildred Larson, a co-chair of the festival, who has been with the Chippewa Valley Book Festival since the very beginning. We talked about how it has grown over the years and what she is looking forward to in this year’s festival.

CHLOE ACKERMAN: How did the book festival start?

MILDRED LARSON: The book festival started out as a partnership between the L. E. Phillips Memorial Library and the Eau Claire Regional Arts Center 19 years ago. I was working at the public library, we had a grant from the American Library Association for a series of authors and discussions, and we needed a co-sponsor separate from the library. We found the Literary Arts Committee from the Eau Claire Regional Arts Center. Their representative was Karen Loeb, now a retired UWEC English department faculty member, so she and I did that grant. It just seemed to work well, and I think that’s how it got started. We were able to get a few more grants to bring more authors in so obviously it wasn’t the size of the current festival. At first, it was called The Festival of the Turning Leaves. I think people didn’t quite get the pun of turning pages in a book and fall, so that was kind of lost. We decided to change the name to something more obvious, and it became the Chippewa Valley Book Festival.

Many people have helped with the festival over the years, but the UWEC English department has been very helpful all along. Nadine St. Louis, who has passed away, was an English professor and poet and one of the first chairs of the book festival committees. After she passed away, we started to have a memorial poetry reading at the festival in Nadine’s honor at the Unitarian Universalist Congregation. The theme of this year’s reading is called Words Without Borders: A Celebration of Poetry in Transition. It’s at 4:00 p.m. on Friday, October 19th.

How has the Chippewa Valley Book Festival grown since it began in 2000?

It’s grown in a lot of different ways; we have expanded the number of days, and we’ve expanded to include more locations. This year, we have programs in five public libraries: the Eau Claire Public Library, and then also in Menominee, Chippewa Falls, Altoona, and Fall Creek. We’ve tried various locations around town, for example, we have had programs for several years at the Unitarian Universalist Congregation. We have programs on university campuses, and this year for the first time we have a program at UW-Stout.

We’ve also added different kinds of events, such as writing workshops and a theatre event. The biggest addition has been authors in the public schools. We have ten authors coming to public schools in Eau Claire, Menominee, and Mondovi so it varies each year. It’s a wonderful experience for the kids. We have writing workshops for children and a Young Writers Showcase.  For the showcase, young writers submit writing to be selected by English honors students at UWEC.  Those whose work is selected will read at the Grand Theater in Eau Claire on Sunday, October 21st in the afternoon. It's fun and lively, and the children are excited to read to an audience.

What are you most excited for in this year’s Chippewa Valley Book Festival?

I am most excited about moving some of our programs into the Pablo Center. Barstow & Grand, David Treuer’s Native Americans and the Imagination, and then the third one at the Pablo Center is Caroline Fraser, author of Prairie Fires: The American Dreams of Laura Ingalls Wilder. David Treuer’s talk will be in the JAMF Theatre, the Barstow & Grand release party will be in one of the rehearsal rooms, I believe, and then the final one, Caroline Fraser, will be in the big RCU Theatre which is a large auditorium. So we will be using three different spaces in the Pablo Center.

What kind of connections do the authors in this festival have to the Chippewa Valley?

We have local authors and we also have authors coming from Los Angeles, California, Spartanburg, South Carolina, and other faraway locations. This year we have three authors who are regional or local, there is Nickolas Butler who is going to be at UW-Stout, there’s Thomas Pearson who is going to be at the Fall Creek Library talking about frac sand mining, and then Molly Patterson who will be at the Menominee Public Library. Every year we have sort of a mix of local and regional writers and writers from around the country.

What do you hope those who attend The Chippewa Valley Book Festival events will take away from them?

I mostly hope they enjoy themselves. We look for authors who are going to be exciting presenters and we have scheduled a great range of types of literature and topics, so people should be able to find whatever’s of interest to them. For writers, we hope some of them will be inspired by the writers we bring, and then the people will maybe find some reading they want to follow-up with.

Is there anything else you would like to add?

Because it’s a long festival, it’s sometimes hard to get all the events out in front of people. I hope people will go to the website and look for more information on the authors and the programs. I hope that they will be coming all the way through October 25th when we have two very excellent programs; there’s Molly Patterson and there’s Heather Swan who is going to be at the Chippewa Falls Public Library. She has a book about honeybees, and it’s a very beautiful looking book. I am certainly hoping that people will continue right through the 25th of October.

Barstow & Grand Issue 2 Sneak Preview!

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by Erin Stevens

The second issue of Barstow & Grand will soon be released into the world, and we’re getting ready to celebrate. Consider this your formal invitation to the issue two release party on Tuesday, October 16th!

At this year’s release party, you’ll have the chance to purchase issues one and two of Barstow & Grand, as well as any other books or publications by the contributors of issue two. The editors of the journal will be our hosts for the evening, so you’ll have the opportunity to get to know them, say hi, and ask them any questions you may have about submitting to the journal.

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Then, of course, there’s the main attraction of the evening: a reading. You’ll be able to sit back and listen as the issue’s 14 contributors read from the work they submitted to the journal.

“The mix of contributors will show off the range of writers we were able to publish,” says Eric Rasmussen, Editor of Barstow & Grand. “People who live in town and who are traveling over to participate, young, old, folks who have published widely, and others for whom this will be the first publication.”

One of those contributors who submitted her work from outside Eau Claire city limits is Rebekah Morrisson. Morrisson, who graduated from UW-Eau Claire in 2014, currently lives in Maine where she works as a Trail Specialist at Baxter State Park. She drew from her trail building work for the short story that’s featured in issue two.

“Having my first published short story featured in Barstow & Grand's second issue is more than an honor,” says Rebekah.

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Since graduating from UWEC, she’s lived in parts of California and Maine for months at a time, making it difficult to find writing communities. That’s why she’s so grateful that Barstow & Grand exists so that she can stay connected to a community she loves so much.

“While I can't attend the release party, I can share in the excitement of another issue by reading it and experiencing the stories there which ground me in a community that I always want to be a part of,” says Rebekah. (Click here to hear a recent piece written by Rebekah).

Something else for attendees to look forward to 一 a chance to check out Eau Claire’s brand new arts center. Yes, you read that right! This year’s release party will be hosted at the Pablo Center at the Confluence. Come for the reading, mingle with members of your favorite local writing community, and also see what this new venue has to offer.

When asked what he’s most excited for, Eric’s answer came without hesitation.

“My favorite part is handing issues to the contributors and everyone who helped with the issue,” he says. “Producing the journal is a lot of work, and that moment when people see it and flip to their names or pieces - that’s a pretty cool moment.”

You, too, can be part of this moment! Make sure to come to the Pablo on Tuesday, October 16th at 7 p.m. to grab your copy of issue two and support our talented community! In advance, please snag your FREE ticket here!


Our New Bookstore Is Open for Business: An Interview with Dotters Books Co-Owner Margaret Leonard

 Dotters Books co-owners Margaret Leonard (left) and Jill Heinke Moen (right)  credit: Drew Kaiser

Dotters Books co-owners Margaret Leonard (left) and Jill Heinke Moen (right)

credit: Drew Kaiser

B.J. Hollars

No city is complete without a independent bookstore. And now, Eau Claire can boast its very own! Dotters Books, located at 1602 Hogeboom Avenue, is now open and ready for business! Enjoy the grand opening festivities beginning at 10:00a.m. on Saturday, October 6!

Read on for an interview with co-owner Margaret Leonard.

Congratulations on your new store!  What makes Dotters Books different from other book stores?

We're planning to stock a smaller, curated selection of books on our shelves. We're focusing on women, authors of color, and small presses - like Graywolf Press, Milkweed Editions, Two Dollar Radio, and so many other great small publishers. We're facing all of our books out, privileging every voice, and we're trying to stock books that we have read and loved, or that we cannot wait to read. We have a dedicated room for children's books with a reading nook and mural painted by Serena Wagner. It is so cool! 

Throughout high school, I had the great pleasure of working in an independent bookstore in Indiana.  It was, perhaps, the best education I ever received.  How have bookstores played a role in your life?  What role would you like Dotters to play in the lives of your patrons and the larger community?

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It has always been my dream to have my own bookshop. I loved going into libraries and bookshops as a kid and getting lost among the shelves. That love never went away. When I lived in Milwaukee, I tried to get a job at Boswell Books - one of my absolute favorite bookstores! - and they just kind of looked at me with pity and said they weren't hiring. No one EVER leaves a job at a bookshop because it's the best! So, in order to finally work at a bookshop, I opened my own. 

I think it is so important to have a space where people can come together to talk about the things that are important to them and to their community, and what better place than a neighborhood bookshop. Books teach empathy in such an active way, asking the reader to imagine a life very different than their own. We're hoping to be a space where readers of all ages can come together and listen and learn from each other. 

How have books impacted your life?  

In countless ways. As a kid, I devoured books. I suppose that hasn't changed a whole lot as I've gotten older. When I was in high school I had a few teachers who changed the way that I looked at books. I recently read a quote from Maggie Nelson (in the introduction to The Seas by Samantha Hunt) and it has stuck with me: "It took me back to how I felt as a kid, when you're newly falling in love with literature, newly shocked by its capacity to cast a spell." That's how I felt when I read books like Great ExpectationsThe Great Gatsby, and As I Lay Dying. A whole new world opened up and I knew I wanted to live in it forever. I studied English in both my undergraduate and graduate programs. I met some of my best friends as we bonded over our love, and hatred, for certain books, fought over whether Fitzgerald or Hemingway was better - now, I say neither, but back then I was a diehard Fitzgerald fan. The books that I have read throughout my life have helped me to become who I am. They have shaped my worldview and broadened my perspective, much like traveling. Each book is an opportunity to learn about other people and about yourself. 

How do you see Dotters Books fitting into the larger arts community here in the Chippewa Valley?

We are so excited to be a small part of the very impressive larger arts community of the Chippewa Valley. We are looking forward to hosting and sponsoring author events, children's Story Times every weekend, writing groups, and book clubs in our space and throughout the community. We're also hoping to have some live music, although we're still determining the best way to use our space for that. We're hosting our first concert here on October 29 - Siri Undlin and Shane Leonard - so stay tuned for more information about that event. Plus, artists need to read, right? We've got lots of books to keep you inspired.

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What's your favorite rainy day read?  Your favorite summer read?  Best book when you're feeling down?  Best book when you're at the beach?

I'm don't often re-read books, so I don't have specific go-tos for these situations, but I'll do my best. 

My favorite book that pairs well with a rainy day is M Train by Patti Smith, but, to be fair, this is one of my favorite books in any weather. M Train changed the way that I look at possessions, material and otherwise. This memoir is the story of Smith's life after the death of her husband. It is full of everyday moments in coffee shops, and trips all over the world - most notably to La Casa Azul, Frida Kahlo's home. It is beautiful, and moving, and heartbreaking, and so wise. 

One of my favorite books that I read this summer was Convenience Store Woman by Sayaka Murata, translated from Japanese by Ginny Tapley Takemori. It felt seasonally appropriate while I was reading it. It's about a Japanese woman who works in a convenience store and struggles to fit into the expectations often placed on women in society. It's a bit reminiscent of The Metamorphosis by Franz Kafka, but it's set in Japan, not nearly as dreary, and quite funny and quirky.


One of the most uplifting books that I've read recently is A Secret Sisterhood: The Literary Friendships of Jane Austen, Charlotte Brontë, George Eliot, and Virginia Woolf by Emily Midorikawa and Emma Claire Sweeney. This is a fascinating history of female writers and their friendships with other women, and it is written by two female friends. Each of these authors was writing at different times, so the social conventions that governed their interactions shifted and changed. If you're feeling down and are struggling to find evidence of progress and equality, read this book and, even if just for a moment, you'll feel like we've come a long way. 


My favorite book that I've read recently that would be great to read at the beach is The Seas by Samantha Hunt. Full disclosure: this is not your stereotypical light, airy beach read. The book takes place in the Pacific Northwest in an unnamed ocean town. The main character is a nineteen year old woman who may or may not be a mermaid. It's eerie and weird, and it features an unreliable narrator, my favorite kind. I loved it.

Be sure to drop by Dotters Books and pick up a copy of a great book today!

From Student to Self-Published: 3 Things I Learned About Being an Indie Author

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By Nathan Zeiter

I remember the terrifying feeling of sharing my work with other students in my creative writing workshops at UW-Eau Claire. Sitting there—unable to speak—as others pick apart my writing. Dozens of eyes stare me down as I squirm in my chair, biting my tongue and accepting every bit of criticism. Despite the fear, it no doubt made me a better writer.

I reflect on all that I learned about writing during my time at UWEC as my hand hovers over my mouse. The next click will submit my novel for self-publishing. Five years of off and on work. Countless days and nights spent crafting a tale that people will hopefully enjoy. Once I click the button, it’s out of my hands. The horrible, anxiety-inducing thoughts swim around as I try to build enough courage. What if people hate it and leave bad reviews? What if it doesn’t sell? What if I wasted all this time for nothing?

As choose to let go of those fears and my fingers finally click the “submit” button, I find myself thinking about all that I’ve learned on this self-publishing journey. Here are the three things every writer should know if they’re looking to self-publish their work:

1.)  You’re too attached to your story. Find someone else to edit it.

The other day, I re-read the beginning of the first draft of my novel. It’s garbage. A nonsensical, poorly structured collection of word-vomit. Then I re-read part of my second draft. A little better, but still missing key characters and plot threads. A quick glance at the third draft left me shaking my head, wondering what the hell the character’s motivations were. The fourth draft was finally a decent product, but I wanted my manuscript to be perfect. So I went through it again. And again. And again.

I toyed with the idea of not hiring an editor and just putting the best version of my manuscript online. That would have been a huge mistake. After shopping around a bit, I sent a sample of my book to a professional freelance editor, and she sent it back to me a few days later. I was confident there’d only be a few markups. Wrong. I missed so, so much. But how? I read the dang thing like twenty times! Turns out, I was too focused on the big picture. Narrative, characters, plot holes, etc. Grammatical errors and sentence structure slipped through the cracks because my brain saw what it wanted to see—not what was actually on the page. I didn’t want to put out a subpar product, so I hired the editor and she helped make my novel a million times more readable. 

Hire an editor, folks. It’s worth it. If you don’t have the cash at the moment, then I’d advise hitting the pause button. If you release an unedited book, then any readers you happen to attract might be put off by the lack of polish, and even worse . . . they might not return for the next.

2.) Grab Their Attention and Keep It.

Anyone can self-publish. You need to stand out.

We’ve all heard it: don’t judge a book by its blah, blah, blah . . . Thing is, if your cover art looks like someone opened up Photoshop and slapped the keyboard three times, then potential readers are just going to scroll right by and pick something else that looks more professional. In the massive sea of self-published work, your cover art is the beacon of light that is going to draw people toward shore (the shore is the page where you can buy the book). If you don’t have the graphic design experience to create your own cover, then make sure you hire someone that can assist you. You don’t have to break the bank, but you need something decent. Once you’ve hooked in a potential buyer with a sweet-looking cover, the next step is to entice them with a blurb (make sure an editor looks at it!). If they like the blurb, then they might check out the free preview . . . which means your first chapter better be intriguing.

3.) Keep Writing!

What do you do after you write your first book? Write the next! Sounds obvious, right? However, here’s what I did the entire first week after publishing . . . I constantly refreshed the sales reports, repeatedly checked the Amazon page to see if the first review has been written, and I suffered through dreams about both rave and terrible comments. 

By researching and talking to other self-published authors, I learned that the best thing to do is to move on to the next book, and you should, too. Don’t ignore the ugly behemoth known as advertising, but don’t let its shadow loom over you all day. There’s no one way to be a successful indie author, so keep writing while you try to figure out what works best with your schedule and style.

Keep writing more and more. The freedom of self-publishing means there’s nothing in the way to stop you, so you need to take that momentum and run a 5k with it. You’ve laid the foundation—now build on it. Write, write, and write. I know you can do it.

Read a description of Nathan’s new book: 

In the heart of Pinewood lies GRACIE’s, a clothing store supergiant where Henry Holloway is having trouble keeping his head on straight. Literally. When he wakes up the morning after a rather humdrum shift with nothing between his shoulders but a dark, endless void, all he wants is for someone to acknowledge his abnormality.

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Demanding answers and receiving little to no help regarding his headlessness, Henry turns to his friends, Sarah Rohmer and John Clemmens, only to find they have also undergone dramatic, inexplicable transformations. When they find themselves haunted by a ghostly being from another world and hunted by Pinewood’s neighborly, panini-loving cultists, Henry has no choice but to fight against a seemingly unstoppable force . . .

Headless: Book One of the World Eater is available right here.

Telling the Truth about the Middle East through Cathy Sultan’s New Novel Damascus Street

 Cathy Sultan

Cathy Sultan

By Chloe Ackerman

Writer Cathy Sultan grew up in Washington D.C. where she yearned to know more of the world. In 1969 her wish came true when she met her Lebanese husband and moved with him to Beirut, Lebanon. She quickly fell in love with the city. When the Lebanese Civil War broke out blocks away from their home in 1975, they continued to raise their family in Beirut until it was no longer manageable.

Cathy Sultan uses her experience and unique knowledge of the civil war in Lebanon to write her latest book Damascus Streetthe sequel to The Syrian. Sandy Tolan, author of Children of the Stone, which was a 2015 L.A. TimesBook of the Year finalist, wrote "Her insights into the region's history and politics go far deeper than your average thriller, exploring U.S. imperial meddling, the heartbreak of Palestinian refugee camps, and the complex and fragile construction of Lebanese society. Damascus Street will stay with you."  Damascus Street recounts the story of American physician Andrew Sullivan, whose fiancée is kidnapped by an important Lebanese ex-political figure. This book follows Sullivan’s thrilling mission to get her back. The following is an interview with Cathy Sultan about her latest book.

CHLOE ACKERMAN: Your book Damascus Street tells the story of a man whose fiancée was kidnapped in Syria by a former intelligence chief after a civil war in Lebanon. What is your writing process for such a serious topic 

CATHY SULTAN: I think it is my ability to imagine the impossible. After all, I am writing about the Middle East, and particularly Lebanon, which I know intimately, and where skullduggery is an everyday occurrence.

This book includes many specific dates and historical events that took place in the Middle East; what kind of research was involved while writing this book?

I am a news junkie and so I read extensively about events as they unfold across the Middle East. Most of the research in the book is first-hand knowledge and other than fact-checking on some events and dates, I needed little research. Some of the events in the book, like the explosion that took the life of an important intelligence chief, happened a block from my apartment. Our building shook and I was there to cover it first-hand as the aftermath was reported. He was such a colorful, shady, and important figure with four different passports, and once the rumors began flying about who he actually was and what he did, I began collecting any and all articles I could get my hands on, assuming I would get to use it in some future work. When I got to that part of Damascus Street, I knew it was the right moment to get out my notes and reconstruct his assassination, the details of which, without much invention on my part, were true. 

Are there any challenges you face as both a fiction and a nonfiction writer?

Other than accepting the challenge from my editor to take on fiction, I have not faced many challenges. Writing fiction is actually more fun. No footnotes, no intense fact-checking and I get to use my imagination, which works overtime, due, no doubt, to the exciting life I have had the privilege of living. I don't rule out returning to nonfiction, particularly if Lebanon is attacked, but in the meantime, I feel that fiction gives me the vehicle to tell what I perceive as the truth, only through fiction I get to hook into fast-paced thrillers which makes it easier for the reader to learn something while enjoying a good read.

According to your website, you wrote the memoir A Beirut Heart: A Woman’s War as a project for your children. What made you want to write the novels Damascus Street and the first book The Syrian?

Yes, I began writing A Beirut Heart for my children, but I soon discovered that it was also a way to mourn my loss of a city I loved. Although I didn't know it at the time, I was also discovering a way to combat what came to be called PTSD. For a very long time, I could not even read sections of A Beirut Heart without crying. Over the years I have gotten better but the trauma of war never disappears. On the upside, the experience of war has not only defined my life, it has driven my motivation to better understand the destructive forces of conflict across the Middle East and to place blame where I know it belongs.

The trilogy which includes, to date, The Syrian and Damascus Street, centers on regime change in Syria. The characters involved in carrying out the West's agenda, and those willing to risk their lives to stop such an atrocity, are the people I want to see rule our world. I know for a fact that our mass media has distorted the news coming out of Syria, and I took it as a challenge to refute those reports and incorporate more accurately what is really going on in the region.   

On your website, you explain how it was frustrating before you wrote your memoir that when you wanted to tell stories about your time living in Beirut during civil war, no one seemed to want to listen. Have people approached you since you started writing your books to share any of their stories relating to the Lebanon Civil War? 

I did find it frustrating and at times hurtful when no one initially wanted to hear me talk about my life in Beirut during the war. Once A Beirut Heart was published attitudes changed. People's aversion to things they can't comprehend is part of human nature. I also attribute that attitude to the fact that we as a country have never had to face the challenges of a war. A conflict far from home enables us to "turn it off" and pay it scant attention. When we are confronted with someone who actually lived through one of those wars, it disrupts our complacent lives and makes us uncomfortable. State-side, no one has approached me about their own Beirut stories, but in Beirut, among my friends, we often reminisce about the years we shared together and that forever changed our lives.

What do you hope the readers will take from this book?

I hope my readers will better understand the West's intervention in Syria and the motivations behind such destruction and upheaval. I also hope readers will realize mass media oftentimes, with its close affiliation with the military, industrial complex, has a political agenda in promoting war. Remember Iraq and the weapons of mass destruction lies!

To purchase Damascus Street, visit The Local Store

A Note from the Guild Director: Saying Goodbye To Cirenaica

 The Cirenaica crew.

The Cirenaica crew.

By CVWG Director B.J. Hollars

On the last night of our last summer retreat at Cirenaica, I waved goodbye, wished the writers well, and then slipped out the door into the cricket-filled night.  

What I knew—but what few others did—was that it would be our last night there forever.  

After three glorious summers at Cirenaica, we are saying farewell once and for all.  The property was a perfect fit during our early years, but as our program grows, so too must our venue.  In chats with the property owner, patron of the arts Jill Postlewaite, it seemed the timing was right on both ends.  And so, on that last night, I closed the door, and with it, concluded the last of my magical nights out at the lodge.

I’ve been putting off this article for a while now.  Mostly because by writing it, I’m acknowledging that this chapter of my life is now closed.  And certainly, it’s one of my favorite chapters.  When reflecting on my various professional duties, it’s clear to me now that aside from my time in the classroom, nothing I’ve done—no meeting I’ve attended, no committee I’ve chaired, no anything—has offered me such a rewarding experience.  If you were a part of this magic in any capacity—as a participant, or a writer-in-residence, or a chef, or an assistant arts administrator, or simply as a guest—I want to thank you.  The truth is, you brought that magic.

Of course, that magic’s a little easier to come by when secluded in a beautiful lodge on 43 pristine acres.  But what remains true—and what I was reminded of throughout our combined 16, three-day sessions at Cirenaica—is that the magic resides in the people, not the place.  It’s the spirit of Cirenaica that must live on, and it will.  

Last summer was filled with all the usual fare: great writers, delectable food, and raucous ping-pong battles that raged deep into the night.  But what made this summer different was the way in which the participants seemed to take full ownership of their time there.  If there was a problem they fixed it.  If all was going well, they worked hard to make their time better still.  

One of my fondest memories involves a toilet seat, which, one afternoon, came a bit loose from the bowl.  A quick-thinking participant grabbed his tools, ran to Menards, and replaced the seat without so much as an ask.  And in doing so, he created a brand, new Guild award: The Toilet Seat Award.  After giving it a thorough scrubbing, we began awarding this toilet seat to the participant each week who, in the opinion of Cirenaica staff, best embodied a spirit of generosity.  And week after week, the recipient appeared to be over the moon at the chance to lift that toilet seat high above his or her head.  Yes, it was goofy, and maybe even a little strange.  But for me, it was confirmation of the bond we’d forged together.  In 72 hours, we’d grown comfortable enough to take pride in such a silly thing.  

Which, of course, isn’t a silly thing at all.  In 72 hours, strangers became friends and writers became a writing community.  That so much could be accomplished so quickly is a testament to that aforementioned magic.  Empathy was at the core of everything we did, and that will hold true for everything moving forward.

We’ve got something very, very special in the works for next summer.  And if I were you, I’d block off July 18-21 on your calendar right now. We’ll have more details soon, but for now, just know that though we’re saying goodbye to Cirenaica, we’re holding strong to its spirit.

It’s a spirit that you helped create.  And we’re hopeful you might bring it with you next summer, too.

Be inspired, inspire others,

– B.J. Hollars   

Staying Connected Through the Newsletter, No Matter the Distance

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By Erin Stevens

In late February of 2016, I sat in the packed event room at The Local Store for the Chippewa Valley Writers Guild’s first ever craft talk. I remember looking at all the writers and literary-enthusiasts around me, all displaying the same excited expressions on their faces. It was clear that this is what writers in the Chippewa Valley had been waiting for. 

It was definitely what I had been waiting for. 

After graduating from UW-Eau Claire in 2014, I moved to Minneapolis because it seemed like it could provide what I didn’t think Eau Claire could 一 more job opportunities and better chances at finding a writing community post graduation. Because at the time of my graduation, the writing community in Eau Claire seemed pretty limited to what was found in the creative writing program in the English Department at UWEC. I loved that community dearly, but when I graduated I found that community really no longer applied to me, which left me asking where do I (and my writing) go from here? 

While Minneapolis did provide more job opportunities, my expectations for finding a writing community fell flat. Other than one option that proved to be too expensive and not very welcoming, I hadn’t found anything. Even now, four years after my move, I’m still looking. 

Luckily, at the time that the Guild was founded, I had a job that brought me to Eau Claire once a week. I made sure my work trips coincided with craft talk/event days. After the craft talks, I’d make the two hour drive back home, inspired by whatever topic was discussed that evening and motivated to work on my writing. 

But that summer I got a new job, which was ultimately a good thing, but it meant I wouldn’t be coming to Eau Claire as often. It broke my heart knowing that there was this great new organization that was going to change the game for writers in the Chippewa Valley, and I was going to miss out on being part of it.  

That’s where the newsletter comes in. Maybe I couldn’t attend every craft talk, or chat in-person with area writers to pick their brains on various topics, but I could read recaps from the events and read advice from those area writers in the Guild’s newsletter. I, and other Guild members who live outside the Chippewa Valley, could even contribute to that newsletter if I wanted to, adding my voice to the chorus of other writers in the community to remind them that, even though I’m two hours away, I still care deeply about this community.  

When BJ asked if I wanted to help him out as editor of the newsletter, I said yes without hesitation. The idea of helping writers stay connected to the Guild - regardless of their geographic location - seemed too good an opportunity to pass up. Plus I like the idea of being able to read articles before they’re published in the newsletter - it makes me feel special.

And you should feel special, too. Because by reading the newsletter, and catching up with old friends, you can remain a vital part of our organization, too--no matter the distance.

So, if you have an idea or you’ve already written the words that you want to share with our community, send them to chippewavalleywritersguild@gmail.com. I can’t wait to read your work!

Bruce Taylor On His New Book, Breaking Forms, and Fish Chowder

 credit: Justin Patchin

credit: Justin Patchin

by Chloe Ackerman 

I will never stop being amazed by the awe-inspiring power of words. In my studies as a creative writing major at the University of Wisconsin-Eau Claire, I have consistently found myself motivated by the writing processes of other writers. I was especially excited to have the opportunity to interview Bruce Taylor—former poet laureate of Eau Claire, and professor emeritus at UWEC—about his new book Poetry Sex Love Music Booze & Death. Bruce Taylor will be reading from this book at The Local Store in downtown Eau Claire at 5PM on Monday, October 8th. Be sure to swing by and pick up a copy!

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Chloe Ackerman: Has your poetry style evolved over time? If it has, how has it changed? 

 Bruce Taylor: As a young poet in the 60’s I would say, along with many others, things like “the sonnet is where old poets go to die” What I didn’t know I meant was I wasn’t good enough to write one. It takes a while to get your chops. Formal poetry is easy to do badly but hard to do well. You try.

CA: Have you noticed any changes in the poetry or literary scene around Eau Claire?

BT: I don’t know if more folks are writing across the Chippewa Valley, though it seems so. There are certainly many more venues to share: the readings at places like the library, The Local Store, The Pablo Center, publications such as Local Lit, Barstow & Grand, Twig. And the CVWG is directly responsible for injecting new energy and interest in writing. For a population the size of ours, the CVWG list an extraordinary number of writing groups, and book clubs.

 CA: At what point in the poem writing process do you decide to put it in a form?

 BT: Very early, and you don’t “put” it into a form as much as coax, tease, worry, beat it in that direction. The form can always be abandoned, and the poem turns into something more free (er) verse, and often better. Or you can simply cheat. We call it “pushing the envelope.” I have some 16-line sonnets, 3-line couplets and an envoi-less sestina. A form is only as good as it can be challenged, stretched, adapted. Still only about half of my poems are in traditional forms. The new book brings them together for the first time in one volume.

 CA: What question would you like to be asked that gets at the core of you as a writer and/or your writing?

 BT: You just asked it.

 CA: On October 8th at 5pm you are reading from your new book, Poetry Sex Love Music Booze & Death, at a Local Lit: Off the Page event in the Local Store. What do you hope people will take from this event and other events in the series with other local authors?

 BT: A book.

 CA: Is there anything else you would like to share?

 BT: I make a very good fish chowder.

 

On Eating Fire, Following the Research Trail, And Enduring, Enduring, Enduring: A Q&A with Tessa Fontaine

 credit: Annie Agnone

credit: Annie Agnone

BJ Hollars

During my time at the University of Alabama, I had the pleasure of sharing the classroom with nonfiction writer Tessa Fontaine, whose debut memoir The Electric Woman, has received rave reviews from Kirkus Reviews, Publishers Weekly, Vogue, among many other venues.  Additionally, her book been named a New York Times Editor's pick, as well as a Barnes & Noble Discover Great New Writers pick.  Which is the long way of saying: I’ve got some pretty talented friends.  On October 19, Tessa will host the program “Recklessness, Obsession and Wild Abandon” as part of the Chippewa Valley Book Festival’s annual dinner at The Lismore Hotel.  Purchase your tickets here.

Read on to learn more about Tessa, her writing, and the books that inspired her own.

 BJ Hollars: In graduate school, your work explored an array of topics—from Alabama ghost stories of hoboes riding the rails to Jacques Cousteau.  Did your interest in immersive journalistic techniques, such as joining the last sideshow, seem like a natural progression, or were you spurred to action due to your mother's health issues?

 Tessa Fontaine: I love writing nonfiction because it gives me permission to follow the trail of something I find interesting as deep into the story as I can go. That's what I loved about those earlier nonfiction projects I was working on, and it's the same thing that prompted the beginning of my investigation into the sideshow. But I think my mom's illness—and her impending trip to Italy, from which I didn't think she'd return—that gave me the final push to actually join up with another life entirely. I didn't really know much about immersive journalism before that, but I was hungry to be swallowed by another world, since the one I knew seemed to be falling apart. 

BH: Over the years, I've regularly taught your essays with students, and they're always astonished by your bravery.  Specifically, your willingness to leave school to pursue a life wholly unknown to you.  Can you describe those first moments when you transitioned from graduate student to fire-eating bally girl?    

TF: The transition from graduate student to fire-eater wasn't immediate. In graduate school, you are valued for your brain, for what kinds of things you can think and write. In the sideshow, while quick wit and a fast tongue are important, the most fundamental skill was a physical ability to endure. So I found myself, in my first few days out with the sideshow, still trying to define myself and connect with people by how I could talk about myself, by my accomplishments. But there was always work to be done. Packing and scrubbing and eating fire. So I quickly adapted, understanding that the way to be valued out on the road is to eat fire with such confidence and allure that the audience can't help but buy tickets for the show inside. To work for hours putting up the circus tent without complaining that you're too tired, or the sun is too hot. It was a shifting of work values and skills, neither one better than the other, but a definite rearrangement. 

BH: In writing about learning to eat fire, you note, “The only way to do it is to do it,” adding later that “There is no trick.”  For me, this seems an apt metaphor for many of life's difficulties.  (Robert Frost's line "The only way out is through" also comes to mind.)  When grappling with the loss of your mother, did you find yourself experiencing a similar sentiment?  Does grief, too, transcend the notion of a trick?     

TF: I think grief absolutely transcends the notion of trick. In the face of a profound and sustained loss, as was happening with my mom for years, there's an understandable desire for things to change. For there to be some shift, some miracle, some departure. I came to understand why so many people find themselves alienated from their loved ones in the face of a long-term debilitating illness—choosing to be distanced. While my mom was sick, I kept waiting for something to change, and the heartbreaking and exhausting reality that she wasn't going to get better was almost impossible to accept. But ultimately, that's all there was to do. There was no trick, nothing to make it easier or faster. There was just this: endure, endure, endure.

BH: Some have compared your spirited prose and adventurous spirit to memoirist Cheryl Strayed's work, in particular, her bestselling book Wild.  Did Strayed's work—or the work of other writers—inform The Electric Woman? 

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TF: Yes! I love Cheryl Strayed's spirit and am honored to be compared to her. I think stories of people—especially women - doing physically amazing things are some of my favorites. I had a lot of other books open near me while I wrote The Electric Woman as well—Lidia Yuknavitch's memoir The Chronology of Water, Justin Torres' novel We the Animals, anything by Anne Carson, Jazz by Toni Morrison—I keep a pretty wide array of books open around me and imitate their prose as best I can. 

BH: What don't readers know about your book or your experience writing it?

TF: For me, writing is one of the greatest exercises in empathy. To write the characters in The Electric Woman, I had to think of them as both real human beings, and also characters, versions of the real people, since it's impossible to show all of who someone is. And to do that, as is necessary with a fictional character as well, you have to show all sides—the good, the bad, and the ugly. The lovely things they do and their flaws. I think it helped me become a better person— to have to think through a person's best sides as well as their mistakes. It created such a swell of empathy, and I'm very grateful for that.