From the Mouths of Writers 1: The Best Advice You Ever Received

by Jeana Conder

A couple of weeks ago I set out on the task of asking local writers to answer a series of eight questions I compiled.  The responses I received are now creating our newest series, “From the Mouth of Writers.”  We hope that this series allows upcoming writers to gain knowledge from others with the same passion. This week’s question:

What is the best advice you have received about writing?

Allyson Loomis

A poet once told me that all you have to do to be a writer is (1) LIVE (2) READ (3) WRITE (4) THINK ABOUT WRITING (5) REPEAT UNTIL DEAD.  I’ve always thought that was a sound checklist.  I routinely share it with my students.

Sandra Lindow

When I was a sophomore in high school, my English teacher said that I didn’t need to “try to be different”.  He believed that I was “different enough” to become a successful writer by just writing the truth about myself.

Molly Patterson

The best advice given to me as a writer was to try different techniques, to push myself outside of my comfort zone. I used to live in San Francisco and had been writing for some time when I took a class with the Writers Studio. Their model was based on reading a published writer's piece, breaking down the various techniques in terms of voice, point of view, style, and approach, and then using those techniques as guidelines for beginning a piece of your own. This method helped me become much smarter as a writer and reader: by forcing me to take on different styles and voices, I expanded my range. The surprise is that in the process, I developed my own voice as a writer. I would recommend this process to anyone.

Bruce Taylor

“A fool on a fool’s journey would be a fool to stop.” Kurt Vonnegut Jr.

Jon Loomis

Read everything and write every day.  I don’t necessarily follow it, but it’s great advice.  

Marsha Qualey

I have been teaching for ten years in a low-residency MFA program. Twice a year the students and faculty meet on campus (Hamline University) and the writing talk flows. I have taken in so much great advice, but possibly the most eternally pertinent to my own writing comes from a faculty colleague, Claire Rudolf Murphy, who likes to pound the podium and urge “Cut the exclamation marks.” That caution is about much more than punctuation, of course. My writing leans toward the emotional and I need to monitor that aspect all the time. Looking for exclamation marks is a good approach.

Sandra McKinney

Write every day; in a journal or otherwise. Meditation.  

Jay Gilbertson

I have been given a ton. As any published writer who has been around will tell you. I suggest you attend workshops or take classes and read writing books (or any book, for that matter) and look over the acknowledgements to see what inspired that particular author. Don’t Stop Writing! Oh, and read and read and read and NOT just in your genre.

Nickolas Butler

Read, read, read.  There's no way you're going to become a great writer, without first becoming a great reader. 

Brett Beach

In an interview on the Longform podcast, Cheryl Strayed talked about the success of her memoir, Wild. Paraphrasing here, she notes that the success was one part luck—extraordinary luck of the kind that so rarely happens, it should not be a thing people wish for—but, more importantly, she had written the best book she could, so that when luck came, she was ready. In other words, she had worked hard. Really, she had worked her butt off.

I think about this all the time: that of all the things writers believe they can control, in truth the only thing we can do is work, and do the best work possible. I believe deeply in working hard. I take writing seriously, and do not romanticize it (no lit candles, no prayers to a muse, no special pen, no writer’s block). Nor do I treat writing an occasional hobby. The writers I know, and respect the most, have all found ways to make space in their lives for writing. Writers prioritize writing—are sometimes even selfish about it. (Ha! Ha! you laugh. Does he have kids yet?) The act of creation can be wonderful, and frustrating, and euphoric, but it is also a choice I make each day when I sit down: I am a writer. I am here to write. So I do the work.  

Cathy Sultan

Things: Always be honest. Your reader will know if you aren’t; Write about something you know and are passionate about.

7 Questions with Cirenaica’s Memoir Writer-in-Residence June Melby

Credit: Parker Deen

Love memoir?  Mini-golf? Wisconsin? Then allow us to introduce you to New York Times bestselling author June Melby, who we’re proud to host as a writer-in-residence at Cirenaica this summer!  June’s residency— “The Art of Memoir: Keep it Honest, But Keep it Interesting”—will teach writers of all levels great techniques for keeping readers riveted within the memoir form.  The author of My Family and Other Hazards (hailed as a “summer delight” and an “ode to Wisconsin” according to the Minneapolis Star Tribune) is a must-read for all Wisconsinites (though especially those who want to hear about June’s adolescence amid golf balls and tricky putts).

We recently caught up with June and learned a ton about her writing style, her influencse and how to handle a truncated question (spoiler alert: her answer is “chocolate”).

You grew up in Iowa, but spent much of your career as a writer in California. Do you think your move back to the Midwest has affected how you write?

Sure, because I have a lot more time now that I’m not stuck on California freeways half the day.  But seriously, I think that moving period has helped me as a writer.  I have found that throwing yourself in an unfamiliar environment is incredibly stimulating.  Anything that makes you challenge your own assumptions is a good thing.  Moving away helped me get the distance I needed to really think about growing up in the Midwest.  Moving back has given me perspective on the years I spent in California.  Buy mostly, I admit that moving back to the Midwest had a huge impact on my writing, because I came back to attend graduate school and get my MFA.  That experience was about as educational (and humbling) as it gets.  I learned to hold my work up to a higher standard.  Best of all, in Iowa City I got the chance to hear many great authors give talks about writing.  I think that was school in itself. 

How has your background in standup comedy influenced your writing style?

Yes.  It got me wonderfully prepared for rejection.  Ha.  But seriously, I think that comedy was a wonderful place to start.  For one, you learn how to be concise.  Comedy is a lot like poetry actually.  You learn to pay attention to each word, as well as the rhythm.  Also, it’s empowering to write and then not have to wait around for a publisher to give you the go-ahead. 

What would you say is the most…

“The question is truncated, but in any case, the answer is “chocolate.”””

Your Cirenaica residency is titled The Art of Memoir: Keep it Honest, But Keep it Interesting. How have you struck that balance in your own memoir writing?

It may sound simplistic, but I discovered that I got stuck when I was trying to say things that weren’t exactly true.  And in this case, I don’t mean true to facts, but true to what I am really trying to understand about the events and people in my life. I am very interested in this topic, because in my experience, it is nothing short of a wonderful miracle that if you write about the things you are curious about, if you really try to grapple with this strange miracle of life,  the reader will be engrossed and travel with you.  However, on the other hand, if you write to impress people, it’s not going to happen.  If you are bored while writing something, guess what, the reader will be too!

Who (or what) most influences your writing?

This is a toughy to answer. But I will say that recently I got the chance to travel, and it was just wonderful for giving me ideas.  Putting yourself in a situation when you feel off-balance, humbled, or even just plain lost can be a very stimulating thing.  It makes you think.  Question your assumptions.  It’s almost impossible to say where inspiration and ideas really come from.   So I’ll just add this quote from Dorothy Parker, “Writing is the art of applying the ass to the seat.” 

Is there anything you’re working on currently?

Yes.  I have three projects in the works!  A collection of humorous essays, a new memoir, and a collection of short fiction in the form of fairy tales.

 How would you describe My Family and Other Hazards in one sentence?

I grew up on a miniature golf course that my family ran for thirty years (and which I hated), but when my parents sold it I freaked out, fell apart, and wrote this book in an effort to make sense of it all. 

Want to share your work with June this summer?  Then apply today by clicking here.

And check out an excerpt from My Family and Other Hazards by clicking here.

Oh, and a special treat for those who read till the end: for each referral application, receive 10.00 off your own potential acceptance! Just have your friend type in your name in the "referral" box on his or her application.

5 Reasons Why Applying for Allyson Goldin Loomis’s Nonfiction and Memoir Residency is a must!

by Erin Stevens

As a University of Wisconsin-Eau Claire alumna, I'm well aware of Allyson Goldin Loomis's prowess as an incredible teacher and writer.  Which is why signing up for her residency is a must.  Check out 5 reasons below!

1. Allyson is an accomplished writer. Whether it be fiction or nonfiction, Allyson has published great deal of amazing work一 she was even an honorable mention in the 2016 edition of Best American Short Stories. Check out her essay, “Learning to Sleep” published in The Sun.

2. She is a great instructor. Allyson is a beloved professor at UWEC who has earned the praise and adoration of her students. From her knowledge and passion for writing, to her interest and enthusiasm in student work, Allyson will be great for writers of all experience levels.

3. You’ll learn how to really bring your nonfiction piece to life. If you’ve been struggling with writing about the details that will really bring your memoir or essay to life, Allyson will talk about different techniques you can try to make your piece as strong as it can be.

4. You’ll have hours of designated, uninterrupted time to work on your writing. In our day-to-day lives, it’s easy to push our writing to the side. We have jobs to work, children to raise and various other commitments pulling us away from the keyboard and the stories, essays and poems we want to be crafting. Think of Cirenaica as the vacation/getaway that you and your writing need. No distractions, no work or kids一 just you and the memoir you’ve been dying to write. While there will be plenty of time reserved for workshop and instruction from Allyson, you’ll also have an abundance of time to write something new or revise the piece you submitted with your Cirenaica application. Find a sunny spot on the deck to enjoy your morning coffee and write a few pages, or pick one of the many comfortable chairs inside the cabin to and and type the morning away.  If you're really adventurous, try writing in a hammock!

5. Special guest John Hildebrand. In addition to working closely with Allyson, you'll also get to meet writer-in-residence alumnus John Hildebrand, author of The Heart of Things  and  A Northern Front,  will be joining Allyson during the weekend to offer advice about all things nonfiction writing.

Don't delay!  Apply today!  Click here for more information!

5 Reasons Why NOT Signing up for Nickolas Butler’s Fiction Residency Will Be the Biggest Regret of your Life

                                                                                                                                                                                 Credit: Jeff Rogers

by Erin Stevens

Okay, okay, forgive the hyperbole.  But as someone who attended Nick Butler's residency last year, I can tell you it's not something to be missed.  

Read below for 5 "must know" reasons to apply today!

1.) New Book Alert. When Nickolas Butler’s Fiction Residency rolls around, he’ll be hot off of a tour for his brand new book. The Hearts of Men, which was released in March and has been receiving rave reviews. While at the residency, you’ll have the opportunity to ask him about his new book, his writing process, the publishing process, and more.

2.) Opportunity for Local Publication. Did you know that the Chippewa Valley now has it’s very own literary journal? Special guest Eric Rasmussen, founder of Barstow & Grand, will talk to fiction residency attendees about the new addition to Eau Claire’s growing literary scene. Whether you have lived in Eau Claire your entire life, or you’re attending a residency in our corner of the world, any writer with a connection to the Chippewa Valley is encouraged to submit their fiction, nonfiction or poetry. And since you’ll be workshopping and revising your piece at the residency, you’ll be just in time to submit for the spring submission period!

3.) It’s a great place to ease into a writing group. Don’t believe us? Check out this testimonial: "This was my first exposure with any kind of writing group outside of a strictly business context. I have to say that [Nick’s workshop] was quite a life-changing experience. I learned so many things in regards to not only writing, but life in general. A fantastic experience recommended to all, not only those who consider themselves 'writers.'”

                                                                                                                                                                               Credit: Justin Patchin

4.) Learn from a successful author in a supportive environment. Book List has called Butler "the front ranks of contemporary American writers of literary fiction..." His debut novel, Shotgun Lovesongs was a New York Times Bestseller. And while this might seem intimidating, it shouldn’t be. Cirenaica is perfect for writers of all skill levels, and our writers-in-residence are here to make your workshop/residency experience enjoyable. Whether you’re a New York Times best-selling author, or you’ve written your very first short story, we promise that Cirenaica will b e great for you.

5.) Your fiction piece will thank you. Having attended Butler’s residency last summer, I can promise you that these three days will be instrumental in improving your fiction. Not only will you receive invaluable critique from Butler himself, but you’ll also have nine other readers carefully considering and offering feedback on your work.

Now’s your opportunity to learn from the best, while also forming a writing community that you can call upon long after the residency has ended.

Apply for Nickolas Butler’s fiction residency today!

                                                                                                                                                                              Credit: Justin Patchin

Teaching and Learning in Writing 101

By Brady Krien

On my first day of teaching college writing I handed out 3x5 note cards to my students and asked them to give me a little bit of information to help me get to know them. I asked for their name, their major, why they chose Marquette, and their favorite Tom Hanks movie. I also asked a few questions aimed at getting a sense of who they were as writers, asking what they struggled with most, what their semester goals were, and if there was anything that I should know about them as writers.

The responses were mostly unsurprising. Students were anxious about commas and the higher stakes of college, many just wanted to get through the class and improve their writing a little (or, in one case, to improve their “grammer”), and none of them had heard of Joe versus the Volcano. What I did not expect was the number of students who claimed that they were “bad writers.” Over half the class claimed to be poor writers.

Looking back, having repeated some version of this same activity with each of my classes, I should not have been surprised. This was the most common response that I received at Marquette and continues to be the most common response I receive at my current institution in Iowa. The odd thing is that very few, if any, of the students that I work with are bad writers. There are writers who occasionally produce bad writing, writers who’ve convinced themselves that they “write better on the first draft” and never revise, and writers who don’t yet understand a topic well enough to make a compelling argument about it, but there are few out-and-out bad writers. 

What I’ve come to understand is that this bad writer claim is less a confession of compositional incompetence than a request for help. It’s a way of saying that 1) writing is really hard, and 2) writing scares the bejeezus out of me. These sentiments are not uncommon, even (or perhaps especially) among people who write a lot. As I’ve worked with students to overcome these challenges, I’ve found that my own understanding of writing has profoundly changed. The three most salient writing lessons I’ve taken from this experience are: 

1. Revision is Key. So many of my students come to college believing that they draft so well that revision is unnecessary (I confess that I shared in this delusion once upon a time). A significant portion of my teaching is devoted to converting them to the school of Anne Lamott: write shitty first drafts and revise extensively. As I’ve preached this particular writing gospel, my own revision process has expanded dramatically. I now devote at least as much time to revising as I do to drafting (and often more) and I’ve come to find an extensive revision process to be incredibly liberating for both myself and my students because it dramatically reduces the pressure to produce high-quality drafts.

2. Silence the Critic. I work with a lot of students who struggle to start writing. They’ll sit down, write a sentence or a paragraph, hate it, and delete it. They will then repeat some version of this process again and again until they either give up and go watch Netflix or the deadline forces them to accept work that they hate. I’ve found that silencing this inner critic by forbidding deleting anything during the drafting process (after all you’ll come back and revise it, right?) goes a long way toward getting words on the page, a necessary prerequisite to producing any writing.

3. Write for Time. I tell all my students set time rather than output goals. Anyone can commit to write for two half-hour blocks during the course of a day and this helps to alleviate the dread of sitting down and writing out the entirety of a ten-page paper which often leads to procrastination and no writing at all. I’ve found that committing to write for a little while every day drives writing productivity way up and the frequency of late night writing binges way down. Energy drink companies will suffer, but you will prosper.

I’m convinced that I’ve learned more about writing from my students than they ever learn from me. Observing their writing struggles and helping them to overcome them has been the best part of teaching writing and has helped my own writing dramatically. It’s helped me to understand that, while we all have very writing processes, there are a lot of shared roadblocks and talking about them, sharing them, and helping others to overcome them is sometimes the best way to move forward with your own writing.

Photo by Caleb Roenigk: https://flic.kr/p/brNqFE

Scribble (March): "The ABC’s of Writing"

Each month we’ll offer a low-stakes writing prompt applicable to all genres. Upon completing the prompt, send your piece (500 words or less please) to chippewavalleywritersguild@gmail.com for potential publication in next month’s newsletter!

Without further ado, here is your March Scribble challenge ....

When it comes to writing, rigid rules can produce fascinating results! Your task this month is to write a fictional short story that is 26 sentences long, each sentence beginning with the next letter of the alphabet. 

Photo by Marcie Casas

An Ocean of Time

An Ocean of Time

By Walter Rhein

I graduated from UWEC in 2001 and moved to Lima, Peru. I stuck around because the women were beautiful, the exchange rate was favorable, and the food was better than anything I’d ever tasted. My expenses consisted of the $100 a month I paid for rent, and whatever else I needed to spend to keep myself fed. That was it. I had no insurance payments, no car payments, no electricity payments, nothing.

I’d only been using email for a couple years, and Facebook didn’t yet exist. It was possible to disappear then, something that’s becoming increasingly difficult to do today.

Back home, they all thought I was nuts—that I was giving up a lot. Honestly, on occasions when I returned to the US to visit, it was fun to sit and “veg out” on cable TV or Netflix. ‘American Idol’ was in season 3 before I ever even heard of it.

“What are you getting in exchange for missing out on the American dream?” my friends would ask. They were scrambling to cover student debt, car payments, mortgage payments, and constantly terrified of losing a job they hated. Somehow, in their minds, I was the one missing out.

“An ocean of time,” I’d reply.

I can still see the eternity of that era stretching out before me. It’s a beautiful image. With modest savings and minimal expenses my time was mine, as much as I wanted. Enough time to bathe in. I was young. I was healthy. I had no obligation but to live.

Some said I was living in squalor. I had a single room, no hot water, and early on I assassinated a colony of bed bugs with a spray can of raid. I wore my clothing to rags. My delights came from spinning tales. In the mornings or evenings I could dance my fingers on my keyboard until my mind cooled off. Sometimes I wrote till dawn and slept through the day. Sometimes I wrote with pen and paper while enjoying a fine breakfast at an outdoor cafe. For a change, my time was not squandered.

“When I was young,” one of my friends in Peru said over a beer at night on a side street in Miraflores, “my parents made me sit in the corner when I was bad. That wouldn’t have been a punishment for you would it? You’d just have sat there and made up stories.”

True.

I lose track of where I am sometimes. People disappear in front of me. Jungles and mountains and super novas spring up all around and steal my attention. Sometimes my wife has to shake my arm to bring me back to her. I’m on the other side of the universe while sitting beside her on the couch.

“Oh, sorry dear, what did you say?”

It made her mad at first but she’s used to it now. She understands my mind is not entirely under my control. In the greater scheme of things, my affliction is low on the list of detrimental quirks. 

Stories and articles got sent off into cyberspace. Sometimes I’d get paid. Mostly no. I do the same thing today and get paid marginally more often. These days I strive for hits and comments and reviews. I find them all equally invigorating. 

I think the ocean of time is as big as it ever was, but I’ve come to understand a little more how insignificant I am beside it. When I stared writing I had a definition for “success.” Now my definition has changed. One reader is as good as a million if that reader finds nourishment in your work. I didn’t believe that long ago. I do now.

Walter Rhein writes for Perseid Press. His most recent release is Reckless Traveler, an expat novel about his time in Peru. He’s also the author of Beyond Birkie Fever, which deals with America’s greatest cross-country ski race: The American Birkebiener. He’s a regular contributor to SilentSports.net, and Singletracks.com, and maintains a travel blog about Peru at StreetsOfLima.com. Please write and request a review copy. He can be reached at walterrhein@gmail.com

Recap: Winter Writers’ Weekend at The Oxbow

A public reading was just part of February's Winter Writing Weekend at The Oxbow Hotel.

By Karissa Zastrow

During the first weekend in February, the Chippewa Valley Writers Guild held their first Winter Writers Weekend at The Oxbow Hotel in downtown Eau Claire. Utilizing the gallery, all writers were checked in and ready to go bright and early Saturday morning. During the introduction, B.J. Hollars described how writing should be, in the words of Ray Bradbury, like “jumping off a cliff and building your wings on the way down.”  This means starting with any idea and seeing where it takes you. In the end, you might not be anywhere near where you started, but you created something as you went and build off that initial idea. 

The goal of the day, was to create something brand new to present at the reading that evening. To help writers, B.J. Hollars introduced the FIB technique when working on smaller pieces:

• Focus- Depth is better than length, so focus on a singular scene.
• Image Driven- Strive for specificity. Make it a cherry coke, not a just a coke.
• Bold- Show what is happening; don’t tell. 

Using this technique, the writers had a full morning of writing prompts to get their creative juices flowing. Writers were given about 20 minutes to focus on each of the 5 writing prompts. Between activities, writers had a chance to share what they wrote. The wide range of writing prompts produced great ideas and, in some cases, pushed writers out of their comfort zone. 

After exercising their brains and taking a break to eat lunch at The Lakely, the writers had a little over two hours to work on their piece for their workshop later. Sprawling out over the first floor of The Oxbow and The Lakely, writers filled the nooks and crannies while creating something that would be revised and presented later in the evening. Whispered conversations turned into the sound of clacking keys as everyone got to work. 

Once everyone had a piece they were comfortable with and sent their piece out to their workshop group, the attendees split up, ready to start the revision process. Each person had about 15 to 20 minutes for their piece to be workshopped. First, the writers would read their piece out loud to the group. Then while the group gave feedback, the writer stayed silent, except to answer questions the group had at the end. Once their time was up, it was on to the next piece.

CVWG Director BJ Hollars

When the workshop session was over, there was a break for writers to get dinner and work on their piece before the reading in the gallery that night. Some rushed off to go get food, while others went straight to their rooms to polish their pieces. At 7 p.m. the writers and audience members gathered in the gallery, which was now set up with rows of chairs, ready to house the reading. With only standing room left, the reading kicked off with special guest, Bruce Taylor. For the next two hours, the writers showcased what they created that day—poems, stories, memories, and even a short play. After each writer presented their piece, they had the opportunity to record their piece for the Blugold radio. Once the reading was over, the writers celebrated their successes with drinks and jazz at The Lakely.

The next morning, the writers reconvened in The Lakely for breakfast before the final and educational session. Featuring Joey McGarvey from Milkweed Editions, a publishing company based in the Twin Cities, the writers learned valuable information about the publishing process and how to get their work published. The best advice Joey had for the writers was to be aware of what the publishing company is looking for and make sure your piece fits their guidelines and genre. She describes getting a publisher’s attention is like finding a secret password to get you “in.” Sometimes the secret password could be comparing your work to the right author, or sometimes it is in the hook of your work—it all depends on the publisher. 

After a weekend of great people, writing, boundary pushing, and showcasing our work, it was time to say goodbye. All the writers gained something from that weekend, whether it was a piece of writing, new friends, or motivation. I think it’s safe to say, everyone left inspired. I know I will definitely be attending again next winter and I hope to see you there. 

For more information on this summer’s writing residencies at Cirenaica, click here.

New Horror Writing Group Forming in the Chippewa Vallee

By Jeana Conder

Do you enjoy writing about things that go bump in the night? Enjoy mysteries and thrillers? A new horror-writing group in the Chippewa Valley is for you.

This new writing group, founded by Joshua Macmillan, is designed for writers who would like help producing their works. Joshua is interested in helping (co-)produce with others to create stories that elicit the darker side of human emotions. Genres of interest in this group are horror, mystery, thriller, and dystopian, and these works do not have to be fiction. Any non-fiction or memoir style stories will be welcome.   

Joshua is looking for a crowd of writers willing to share their works and become “beta readers” for others. He hopes to have the group edit and critique stories with the hope of promoting finished stories out of this company.

Joshua is a 28-year-old resident of Eau Claire, Wisconsin, with roots in San Antonio, Texas. When it comes to horror, he is a lifelong fanatic but an amateur writer, and he wants to learn as much from others as he can. He would also like to help other authors achieve their own writing dreams. Right now, Joshua and his twin brother are collaborating on a graphic novel series, screenplays, a horror fiction series, and what Joshua hopes to be his first novel. His most notable contributions are on the horror website Dread Central.  His goal for the year is to increase his creative output and make writing his career.

If you have similar ambitions to Joshua and would love to be a part of a group of writers with similar interests and objectives, you can contact Joshua at joshmacmillan88@gmail.com.

“Talking about soup shouldn’t be this philosophical” (An interview with Cirenaica chef Brent Halverson)

Cirenaica chef Brent Halverson chats with our founder BJ Hollars about 2016's summer writing residencies, what to look forward to for this year's residencies, and the powerful meaning of sharing food with a new group of friends. Have a listen!

A Fond Reflection on Time Well Spent: Looking Back at Cirenaica 2016

By Tony Dee

Having spent the year leading up to Cirenaica teaching first-year writing courses, it was a delight to be on the “other side” of the classroom. Although in this particular instance, the “classroom” was a warm common area in a cabin (cannot stress this enough: on architecture and furnishings alone, Cirenaica scores a home run) and the teaching was a blissful break from my lectures on comma splices. Max Garland, poet-in-residence, had this magical ability to engage with our cohort on numerous levels—hard, theoretical, college seminar-prosody stuff—but made sure the humane integrity of the art remained intact. Discussion was both critical and generative, and I hadn’t spent that much time hunched over a notebook furiously burning through pages and wrist-strains since middle school (speaking of eras wrought with nostalgia and preciousness). Max was cheerleader and champion, scholar and peer; at several points he was also a park ranger (that was my second favorite Max) on a number of field trips, most memorably into the Wisconsin woods to behold Big Falls.

Despite the fast friendships, often, the best time was spent alone. The area surrounding the cabin offered many trails, opportunities to lose oneself if one was so inclined; had I conquered those grounds I suppose I would have taken advantage of one of the few up-for-grabs bicycles and rode into downtown Fall Creek, as one of my fellow writers did one morning.  I opted to go on a social trip to a bar in Fall Creek with several of my newest friends; from what I remember, we had a really, really good time. On our walk back up the hill to the cabin, we sat, laid back, and admired the stars, the moon, and probably discussed art, God, Her capability to create such a subtle spectacle. You know how writers are, yes?

Long days of discussion, invention, discovery, and revelry were fueled by gallons of coffee and some of the finest cooking I’ve ever had the pleasure to enjoy, and enjoying food is my passion if poetry isn’t. Chef Brent will forever hold a dear space in my heart as the mastermind behind cold oatmeal. Yes folks, cold oatmeal. Where creativity was being nourished, our physical bodies were being absolutely satiated. I’d say spoiled, but frankly, we deserved the delights if for no reason other than the talent and camaraderie on constant display during impromptu or planned readings, sharings, and workshops.

I now humbly submit, what could be a journal entry or piece of intentional writing, as my honest to gosh recounting of my arrival at Cirenacia last summer:

“Portrait of a writer in motion: vehicle peeling itself off the long expanse of yet another Midwestern highway that surely I would write a poem about after a day’s worth of driving. Well past Chicago by breakfast time, Detroit, Michigan, was time-zones away in the rear view mirror. My little car buckled getting onto a local highway, parts of which were dirt. One of the many talented Eau Claire bands I’d brought with me were quietly playing to the added percussion of anticipation and small stones underneath my tires. Clouds obscured the otherwise tremendous expanse of land that makes up the vistas of Fall Creek, Wisconsin. I thought back to my M.F.A. friends in California, trying their best for my benefit but just not getting the treasures our pastoral landscapes offer. As if to snap my attention from the often reviled throws of nostalgia and preciousness, a bolt of lightning punctuated the long sentence of a thunderstorm.

I’ll blame the torrent of rain rather than human error, despite my ever gracious hosts making it abundantly clear how to locate the difficult to spot entrance to Cirenaica; I had to turn around in the neighbor’s driveway, which was quite far away from the bold and blue letters announcing my temporary new home. A dirt driveway snaked up and away from the road, into a row of trees, suggesting what woods lie beyond. Through the clearing there appeared as if by magic the kind of cabin that would turn a person into a poet: sharp edges on a vaulted roof, logs and bricks, long windows offering gaze into our isolated surroundings. Rain pattered in puddles in the sloping lawn, leaves danced on their branches, and, fully embracing the (now) nostalgia of hyperbole, I realized I had arrived at a home like which I had never resided."

The stuff oozes out of me after the weekend of reinvention, hard work, and good writing. The details of my arrival are abundantly more available to me because, after being ushered in by an impossibly energetic and welcoming host (local Wisconsin beer in outstretched hand, I might add) BJ Hollars, the individual moments of the Max Garland Poetry Residency begin to blur. I’m positive I did some of the best writing I’ve ever done in my life; that’s including time spent in a graduate program for creative writing.

Two memories stick out most profoundly to me. First, the very same friend (from graduate school) who made Michigan-me aware of this little writing residency all the way in western Wisconsin, also heartily recommended visiting Eau Claire’s Pizza del Rey. Like I said, poetry and food are my passions. I was determined to visit this landmark. Not wanting to be anti-social, I offered to my new group of companions that, despite having just finished an enormous (and delicious) meal, I’d be going into town for some pizza, “anybody want to tag along?” Two full cars went from the cabin into town, and the rest of that tale is found between boozy and cheesy poems written in some journal, somewhere.

The second is bittersweet. I had quite a long drive ahead of me, so my last morning at Cirenaica was a short one. Hurried coffee, tossing clothes and books back into my bag, tossing that into the trunk, another hurried coffee, then goodbyes.

I drove away barely remembering the apprehension I’d driven into town with; if there’s a more likely group of friendly strangers than writers, I couldn’t guess who they’d be. Full of spirit, creative energy, and eyes fully locked on the rear view mirror well beyond the numerous state borders I crossed on my journey, the Spirit of Cirenaica, I knew, would be a constant companion for the many months ahead.

Until, hopefully, next summer.

Interview: Nickolas Butler

Nickolas Butler | Photo: Jeff Rogers

By Alison Wagener

Local writer Nickolas Butler's debut novel, Shotgun Lovesongs received international acclaim, a spot on the New York Times Bestsellers list, and a deal with Fox Searchlight. Raised in Eau Claire, Butler attended UW-Madison and then the acclaimed Iowa Writers Workshop before publishing the book, which contains multiple references to the Chippewa Valley. His second novel—The Hearts of Men—is poised to release on March 6.

This summer, Butler will return to Cirenaica to host a writer residency on the theory and practice of fiction. Details here!

We recently sat down with Butler to ask him a few questions...  

CVWG: The essential first question: did you always know you wanted to be a writer?

Butler: I think writing’s always been a big part of my life. I don’t think that I ever thought it could be my job maybe until I went to Iowa, and I started gaining a momentum, and I could see there was some kind of path for me moving forward. But I think when you grow up in the Midwest, the notion of dreaming of becoming a writer seems sort of far-fetched. So maybe even if that’s what I wanted to do, I never would have vocalized that.

So it just clicked for you sometime during college, you decided to pursue writing in grad school and everything fell into place?

I mean when I was going to grad school, my wife and son were living north of the Twin Cities, and I was commuting down to Iowa City from there. And it just felt like there was a lot at stake for my time in Iowa. What was my wife sacrificing for? Why was I away from my family if not to really work hard all the time? So I used my time really efficiently during that two years and was able to write two books while I was there, and I was lucky enough to get an agent halfway through my time there, so everything just kind of clicked, yeah.

Both Shotgun Lovesongs and your new book The Hearts of Men are set in the Chippewa Valley, the Eau Claire area. Is that you writing what you know best, or do you think it’s something more of a tribute?

It’s writing what I know best. This book takes place mostly north of Eau Claire; it’s in a Boy Scout camp kind of near Rice Lake. But it also ranges to Vietnam, to South Africa, to Botswana—so it’s kind of more around the world than Shotgun Lovesongs was. It’s what I know the best, but it’s also just what comes naturally, too. I’m not really interested in writing about anything else right now.

Were you a Boy Scout growing up? Do you think that played into your idea of what men should be?

Mm-hmm. Cub Scouts, Boy Scouts, ultimately an Eagle Scout, so yeah, I was going to camp from when I was eight until I was 16 or 17… I don’t know that I could say that I thought Boy Scouts necessarily was instructive of what I thought masculinity was going to be. For me it was ultimately more about being a good person than a good man or a good woman. The book is interested in masculinity, but I think that’s sort of separate from the Boy Scouts. It’s convenient that the Boy Scouts are there. But they’re not the same thing.

I think I was thinking about masculinity from more of the standpoint of being a young father, and thinking about the job my own dad did, and the job that I have to do moving forward. I don’t know that Boy Scouts really colored my idea of what masculinity is. At least I don’t think. Nobody’s asked me that before.

As I read, it seemed like Nelson sort of became a paragon of masculinity over time, even though he’d certainly gone through his own troubles and his own transformation. I was just wondering if for you, is what Nelson becomes your ideal of what men should be? Does that ideal even exist?

I don’t know that I think about Nelson as a paragon necessarily—I think what’s good about him and what’s good about most of the characters is that they’re trying to do their best, and it doesn’t always work out. But they’re trying. The notion that he has some kind of code, or thinks about a code, is what’s most important.

And the funny thing is, like, people think about the Boy Scouts as like a punch line, you know? If someone thought you were a dimwitted rube, they might say oh, you’re such a Boy Scout: you’re not complicated enough to act in an indecent way, or something like that. Like, what’s wrong with trying to have a code? What’s wrong with trying to be your best person? And also, is that possible? What happens when you fail – are you a bad person when you fail your code, if you can’t live by it all the time?

There’s quite a spectrum of morality and masculinity within your characters. Maybe I was reading a bit too much into the masculinity theme, but the book is very male-centric, with characters who do and don’t try to follow that code. What do you hope the men in your book collectively convey about what it means to live morally?

My dad, who was not always a very good dad, shares some of the same qualities as Johnathan. My dad’s dad, my grandpa, was often gone on merchant marine ships. He wasn’t around for my dad’s childhood. And I think even when he was around, he didn’t know what to do. He didn’t know what to do because his own dad died in a coal mining accident before he was born. So he had no exemplar. My dad used to tell me, “I’m not a good dad, but hopefully you’ll be better than me, and your son will be better than you.” So I think part of the job of the book, especially because it takes place over sixty years of history, is asking if we’re trying to become better.

Masculinity is a hyper-loaded word, and I never set out to make any sort of statement on that. I like to think about myself as a pretty sensitive person, and I’m raising both a son and a daughter right now. But I think the project of the book and of these characters is just to improve over time, to try and set a moral code out for themselves, and then try their best to live by it.

Can you tell us some more details about the release?

It’s coming out nationally March 7. There’s going to be a reading at Volume One March 6, so that’s kind of fun. By all rights, everything seems to be going just as well as it could be. We’ve gotten three-starred reviews from Library Journal, Kirkus, Publisher’s Weekly—Publisher’s Weekly called it one of the top ten books to look forward to this spring. It was nominated for the highest foreign literary achievement in France—this one actually meant a lot to me—it was nominated for another one of France’s highest foreign literary achievements by an all-female jury. It’s called the Prix Femina. It’s an award that’s always been selected by a female jury, so I love that. Made me feel good that this book that is kind of dominated by male characters was accepted that way, and I think they could see that I was critiquing male behavior, not celebrating it necessarily. So you never know, the New York Times could take a big shit on it tomorrow, and that would stink. But I wrote the book I wanted to write, and so far it seems to be going pretty good.

Cirenaica writer's retreat, Summer 2016

So let’s shift a bit. Last year, what do you think went best with your Cirenaica residency? Do you think there’s some things you’ll do differently this coming summer?

The one thing I was fortunate to have last year was a great group dynamic. We had about ten people who really seemed to get along right from the start. That’s really important to me, whether it’s teaching at Cirenaica or teaching at UW-Eau Claire, whatever it is. You need to make everyone in the workshop feel valued and feel comfortable, because it’s not about just listening to me pontificate. There would be no point in having a workshop, then. It would be better if it was just one-on-one teaching. I need everybody to be invested in the group, and I need everyone to be comfortable listening to one another’s criticisms. We were very lucky that last year went that way. I hope that this summer’s group has that same kind of camaraderie and spirit. In terms of what could be improved on? I don’t know. I thought we had a really good first year. There’s going to be air conditioning this year, which is a big step up. There’s gonna be a printer, which is a big deal. The first year, we were just trying to feel things out, like what is this space, how do we use this space, what do we need, what do we have? I don’t mean to paint too rosy of a picture, but it really was a nice experience for everyone.

Well it sounds like an amazing break from real life – you get to go sit in the middle of the woods and do what you love for a few days.

Yeah, and we had a range of talents, which I frankly think is good, because if you’re just starting off your writing, and you’re exposed to somebody who’s doing really good, advanced writing and exposing you to something you can strive for, I think if everybody comes in at the same level, then there’s more room for jealousy or petty bickering or something like that. I’m looking forward to it.

Have you thought about what you’re going to be focusing on yet, what you’ll do during the residency?

I’m going to conduct it the same way I did last year, which is basically that everyone gets a workshop, everyone gets a one-on-one meeting with me. Everyone gets a handwritten critique from me, and then I’ll just be around to chat. And I think sometimes a workshop is for the piece and for the person who’s being critiqued, but sometimes the most important stuff that a person learns is from casual conversations when you’re having a beer. How did you do that? How did you find an agent? How did you get published in a literary journal? Questions like that. And it’s hard to find a casual resource for some of those questions. But that’s what this thing is for, to learn how to break through and make your way.

Anything else?

I mean, I hope we fill up the Volume One store March 6. It will be a fun night, and then everyone is invited to go across the street to the Lakely, and we’ll have drinks afterwards. I think it’s pretty special that the release date is a day early, and it’s here in Eau Claire, which is cool. As far as Cirenaica goes, my hope is that at the end of the weekend, my workshop feels like they’ve created nine or ten new friends. That these people communicate with each other and move forward after that. And I hope that they get good feedback from me, and that it’s – I’ve been told that my workshops are very useful. We don’t waste a lot of time. The idea is to give you positive feedback right off the bat and then work with you about what’s not working quite as well. So I think people will come out of it feeling like they’ve got direction moving forward, and that they’ve also got a support group moving forward. And it’s set in a beautiful spot, it’s pretty cheap. People should use it.

Craft Talk Rewind: Self-Publishing With Katherine Schneider & Cecelia Zorn

Hillcrest Greens.

The Chippewa Valley Writers Guild started off 2017 with a craft talk focused around self-publishing by inviting Katherine Schneider and Cecelia Zorn, two accomplished self-published authors, to provide insight on the increasingly popular publishing option. Self-publishing is where authors publish without a publishing house being involved. This means the author is in control of most of the process, which comes with both advantages and disadvantages, depending on the way the author looks at it.

While going through the self-publishing process, many authors learn quite a bit about the process that they would not have considered before. One advantage of self-publishing is that it is often quicker to get a book made, marketed, and sold. At times, self-publishing can be a stepping stone to getting noticed by a traditional publisher. If a self-published book sold well, a publisher might want to pick up the book or be interested in the author’s other works. With self-publishing, authors tend to get a bigger chunk of money, but that does not mean they make a ton of money. One of the biggest advantages of self-publishing is that it allows the author to have creative freedom throughout the whole process. The author can choose the price, the size of the book, the font, how they want to market it, and design the cover, all of which is part of the fun in self-publishing a novel.

While there are many advantages to self-publishing, some authors may not be thrilled about all the work they have to do on their own. In some cases, authors hire out help to assist them with the many tasks associated with self-publishing. This can cost even more money on top of the fee that authors need to have upfront when they publish their novel. Typically, authors need to have $1,000 to $2,000 to start the self-publishing process. One challenge for authors can be self-marketing and getting your book out there. Since all the marketing is up to the author, they really have to learn the best way to market their book to their target audience and, even if they do, it can be difficult to get established in bookstores and libraries.

Once an author has decided to self-publish, there are a few ways to find a self-publishing company to work with. Many people use word of mouth to discover reliable self-publishing companies. Katherine and Cecelia both have worked with Dog Ear publishing and Katherine has also worked with Beaver Pond. Create Space through Amazon is another popular option, but authors should be careful of formatting. Authors will sometimes look at self-published books in the library to see the quality of books the company produces and utilize reviews on the internet to make their choice. When it comes time to choose a self-publisher to work with, there are several questions authors need to ask themselves:

* Do you own the rights to your book and are you able to read and understand your contract?
* Do you set your own price and when are you paid?
* How is the customer service they provide?
* Where does the company make their money and what is the company getting?
* Who has the creative control and who is in charge?
* What will it cost you?

These questions will assist in discovering what you expect from a self-publishing company and ultimately, what publisher you will choose to work with.

Marketing a book is perhaps one of the aspects of self-publishing that can be fun, but also incredibly challenging. First, the author has to define who the target audience is. Then they have to determine where they go, what the best way to reach them is, and how to get their attention. In terms of marketing, all the little things matter—from the size of the book, to the look and style of the cover, to how many books the author orders at a time, it all makes a difference. Another detail authors need to take in to consideration when marketing is how much they want to spend on marketing techniques. Some methods to consider are e-mail lists, giveaways, taking a book tour, book marks with information on them, a blog, T.V., radio, and using social media to get their book out there. Authors shouldn’t be afraid to use who they know to help get the word out. Whether it is asking friend, who also an author, to write review for their book, or inviting someone to come on their book tour with them, any help can go a long ways.

Perhaps the best advice Katherine and Cecelia offered during the craft talk, was that if you are going to self-publish, make it fun. Enjoy the process from finally writing your novel and editing it, to creating the cover and the size of the book, to getting your book out to the public. After all the hard work you put in to achieving your goal, the least you can do is have a little fun with it!

What 2016 Gave Me

Note: This is a great submission from our
January 2017 Scribble writing exercise.

By Jason Spraitz

Maybe I’m to blame. As 2015 became 2016, I made a single plea, “Please let the new year be better than the one just completed.” How could it be worse, I thought.

Professionally, 2015 began with a state budget proposal to slash $300 million from my employer; this was reduced to a cut of only $250 million. Personally, 2015 ended with the Black Friday revelation that my mother-in-law was battling Stage 4 pancreatic cancer. My wife spent the final five weeks of 2015 traveling from our Eau Claire home to her childhood house in western Pennsylvania. I was alone in my living room with a shihtzu on my lap and crumpled McDonalds wrappers at my side when I made my New Year’s Eve proclamation.

One month later, January 31, 2016, I received the call from my wife – my mother-in-law died in her sleep after a short valiant fight. Personal tragedy gave way to professional loss in March when a gubernatorial-appointed board voted to strip true tenure protections from all Wisconsin state university faculty. My colleagues across the state responded by declaring no confidence in system leadership.

All of that happened before the end of May. At that point, I was certain my wish for the new year wouldn’t come true. And, as 2016 concluded, that mid-year intuition was proven correct, thanks to Mariah Carey, no less. I even apologized to a friend for my awry request from a year prior.

But, in 2016, one moment of pure beauty gave me pause and allowed me to forget personal and professional tribulations, if only for a few fleeting minutes.

In early June, I visited Rocky Mountain National Park with my wife and a close friend. We spent a sun-soaked morning hiking short trails near the Bear Lake Trailhead. We circled Nymph Lake and ascended the trail to Dream Lake. At Dream Lake we paused so our friend could cast a few flies, much to the delight of families and young children who passed by us. Continuing past Dream Lake at more than 9,900 feet of elevation we encountered a deepening snowpack, for it was still fairly early in the season. We decided to turn back and meander up a different trail to Alberta Falls.

The trail leading to Alberta Falls peaked at 9,400 feet. Just above the tree line. With the falls rumbling through the gorge to my right, I sat perched on granite that had taken millions of years to get to that moment with me.

Looking north, over the aspen groves and pine forests, to the snow-capped mountain ranges, I forgot about everything. I was caught in a moment in time; entranced by the wonder of the expansive vista in front of me. I felt grand yet small. Inferior as a single speck in 265,000 acres of pristine wilderness. But, powerful for being able to traverse this landscape at this altitude. And grateful, to that place, for its infinite power.

I return to that memory often. When morale drops at work. When elected representatives aren’t representative. When Thanksgiving gave way to Black Friday and the one-year anniversary of my mother-in-law’s diagnosis. Or, when I just want to smile.

It’s during these times that I remember: despite loss and disappointment and anger and sadness, there are places that have withstood all that pain – for millennia – and continue to inspire and provide opportunities for reflection and escape, if only for the briefest of moments.

Despite taking so much, 2016 gave me that, thankfully.

Learning to Write, Again and Paterson

Alex Tronson (center)

By Alex Tronson

Dear Past Self,

About a year after you graduate from UW-Eau Claire, you may find that your general willpower to write has begun to slip a bit. It won’t be for lack of time, (trust me, you’ll have plenty of that), but because you’ll be afraid. (Who was it who said there is no such thing as writer’s block, only fear?)

Maybe that sounds silly to you, Past Self, to be afraid of writing. But with time I’m sure you’ll come to understand that it’s a necessary hurdle in any creative process, and you’ll learn to overcome it. Which isn’t to say you won’t be writing at all during this time, but surely not as much as you once did, and surely not as well. Right?

During this time, you’ll remember your writing workshops, and how there was always a consistent source of feedback. You were never more than a few weeks away from finding out what was wrong with your work. Even if you didn’t always agree with your peers, there was still a supportive group of like-minded individuals committed to helping you improve your craft.

But when you graduate, Past Self, it will be intimidating to write on your own. Until you’ve embedded yourself in the literary community, how will you know if your characters are underdeveloped? Or if your narrative is too slowly paced? Or if your dialogue is unrealistic? You will find yourself asking these questions often, creating a disconnect between your ambitions and your execution. You won’t have trouble getting butt-in-the-chair, (again, trust me, you sit a lot) but you will struggle with overcoming the fear of writing a bad story.

All right, Past Self, allow me to pivot for just a moment to inspiration, which you already know we cannot wait for, but have to find for ourselves.

Sometime in the future, you will pinch your jacket shut against the cold (the zipper on our favorite jacket will be broken) and you will go out to see the new Jim Jarmusch film called Paterson.

The film shows a week in the life of Paterson, a bus driver living in New Jersey, with his wife, Laura and their English Bulldog, Marvin. Paterson drives around, eavesdropping on passengers—a pair of lonely construction workers, two anarchistic college students—and when he finds some time, he breaks out the small, moleskin notebook to write poems, though he does not show these to anyone. (This will feel very familiar to you, Past Self, just wait.)

As someone currently struggling with maintaining a proper work ethic, you will find Paterson to be exactly the kick in the pants you need to begin journaling again, which will then fuel your next poems and short stories. The film will reinforce things you once knew to be true, but had forgotten. That writing can serve as a reflection, an interpretation of the little things, the day-to-day moments and adventures that make us feel the most human.

Though maybe, at this moment, a film won’t do the trick for you. Perhaps a trip to the museum is in order, or a good and spontaneous conversation with a stranger or a friend. Perhaps you need only to put on a good record (try Otis Blue) to find some inspiration. But in the future, this film will help you. And though it may not be the classroom full of inspiration you and I are used to, you can rest assured that everything will be all right, because, Past Self, we will learn to write all over again, and that’s going to be just fine, as long as we let it be.

Sincerely,
Your Future Self

P.S. Oh, and you should probably start jogging again.

Nature Nurture: A Celebration of the Arts and Environment

John Hildebrand

by Jeana Conder

On Tuesday, February 28, writers B.J. Hollars, John Hildebrand, Steve Betchkal and Dr. Kathie Schneider will be hosting an evening of reading and conversation on the importance of nature, art, and the convergence of the two for the benefit of both. This celebration will be held at 7:00 pm at the State Theatre. Price for attendance will be $10, and all proceeds will go towards the local Sierra Club Chippewa Valley chapter and the Eau Claire Regional Arts Council. In addition to reading and conversation, a cash bar will be available, and a book signing will follow the celebration.

"This is really a great opportunity for our community to come together in common cause," said Hollars, the event's organizer. "Here in the Chippewa Valley, we value the environment and the arts, and this is a night to come together to celebrate and defend them both." Hollars himself will be reading out of his new memoir, Flock Together: A Love Affair with Extinct Birds. John Hildebrand will also be reading from his novel, The Heart of Things.

The Nature Nurture event is a great way to celebrate the arts while also supporting the beautiful environment the Chippewa Valley is known for. The celebration is a great opportunity to meet and listen to local authors while also enjoying conversation over a few drinks. Tickets can be purchased online at the Eau Claire Regionals Arts Center website.

We hope you’ll keep warm with us at the State Theatre on February 28.

New Local Lit Mag: Barstow & Grand

The Chippewa Valley Writer's Guild is thrilled to welcome a new publishing opportunity to the Valley: Barstow & Grand – learn about its mission, meet the editors, and get details on when you can submit your work!

Scribble (January): “The Great Dumpster Fire of 2016”

Each month we’ll offer a low-stakes writing prompt applicable to all genres. Upon completing the prompt, send your piece (500 words or less please) to chippewavalleywritersguild@gmail.com for potential publication in next month’s newsletter!

Without further ado, here is your January Scribble challenge...

It’s official: dumpster fire, including its associated trashcan and fire emojis, has been declared by the American Dialect Society to be the 2016 Word of the Year. The ADS defines dumpster fire as “an exceedingly disastrous or chaotic situation,” and if there’s one thing we can collectively agree on in 2017, it’s that 2016 was a bit of a dumpster fire. But somehow, we subdued the flames long enough to find moments of peace, progress, and dare I say it, joy. 

As we move into this next year of ours, your task is to reflect on a time in 2016 that you were able to find a moment of good in a difficult situation. Savor it. Write about it. And don’t just send it to us—share it with your friends, family, and community. We could all use a reminder that even through the fire, it is, after all, our dumpster. 

Image: Timothy Wildey, CC 2.0

The Power of Poetry: How to Be an Advocate Through Your Writing

Rebekah Palmer

By Rebekah Palmer

When I was 14, I started keeping a composition notebook I used to write down everything I felt and knew about current events in the world. I had written about my day to day activities in journals before, but there was a different feel about this blue lined, wide margined notebook that housed thoughts beyond my personal experience. Suddenly my world expanded. I found myself writing about the September 11th attacks, the treatment of veterans, and other issues I wanted to advocate for as an American teenager.  

Several years later, while taking a creative writing class taught by professor Karen Loeb at the University of Wisconsin-Eau Claire, I started another notebook. This one centered on issues I had kept hidden in my heart in high school: sexual assault awareness and living as a single woman in 21st century America. 

The scrawls within those notebooks I kept as a younger person would become the rough drafts for the advocacy poems I used in my first and second books.

If you’re unfamiliar with the genre, an advocacy poem includes lyrics on causes, events, effects and news that lack adequate public awareness. Advocacy poems can be written about anything in the world that the poet wants to provide a different perspective on, call more attention to, or create new solutions about. 

How do you write an advocacy poem? Here are a few good tips:

• Seek out resources that agree and disagree with your position, especially thoseabout how an issue is handled specifically in your community. This will help you garner better specifics and empathy in your advocacy writing. 
• Attend rallies and events for the causes you want more awareness on.
• Free write in a notebook exactly how you and others see, define and feel about the cause. 
• Free write about the atmosphere and happenings at any gatherings you have attended. 
• Write down personal memories and/or interviews from others that could help explain your stance to your readers.
• When writing your poem, try to answer these questions: Is there a physical metaphor I can liken the way I see this issue to? Is there a rhythm to my feelings and thoughts about this issue, and what stanza form will make a reader hear my message the way I hear it? Do the words I have written down remind me of a certain smell, touch or taste?
• Use your memories and the answers to these questions on your five senses to create a poem in which the reader can really experience your perspective on the issue you have chosen to champion.
• Have other writers check your work, especially other writers who have already written in different genres on the subject you have chosen.

Above all else, never underestimate the power of poetry. Use the form to spread your voice far and wide. Be heard.

Writing Through the Excuses: The Story of a Writer and Her Cat

The cat in question.

By Erin Stevens

Two months ago, I adopted my first child. Weighing in at 15.5 pounds of fur and sass, Murphy (or Murfreesboro if he’s in trouble), has changed my life forever. His adoption was a long time coming. The truth is, I’ve been a self-proclaimed cat lady for as long as I can remember. It’s not uncommon for me to receive one (or more) cat-related gifts for Christmas or my birthday, and it’s no surprise I’ve found and befriended multiple cats from the Uptown neighborhood of Minneapolis. 

What is surprising is the amount of time it took me to adopt a fur child of my own. Two and a half years ago, I graduated from UW-Eau Claire, packed up my things, and headed to the Twin Cities. The first question my friends asked was: When are you going to get a cat?

My answer? When I get more settled in my job. And when that job wasn’t working out? When I find a new job, I’ll get a cat. And when I did find a new job? When I find a better paying job and have a bigger apartment, that’s when it’ll happen. 

For months, I’d spend my lunch breaks playing with the cats at the humane society, but my visits always ended with me leaving, no cat carrier in hand. 

As I walked back to work one day, it occurred to me that my delayed entrance into cat parenthood wasn’t the only thing I was making excuses about. 

I graduated from UW-Eau Claire with a degree in creative writing, but with how little I’ve written in the two years since I graduated, you wouldn’t know it. Aside from a blog I updated once a month, I wasn’t writing much else. Similar to the whole cat adoption (or lack thereof) situation, the excuses flowed. 

When I get my first job, I can focus on writing again... 

Once I’m done searching for a new job/writing cover letters I’ll blog again…

When I find a less writing intensive job, I’ll have more energy to write short stories…

Because I love writing, I kept telling myself that it needed to take a backseat to the more urgent things that needed to get done (namely finding a good, solid job).

In short, with both my writing and adopting a cat, it wasn’t the right time. Even though they are both things that bring me a great amount of joy, they were luxuries that I didn’t think I could afford. There were a million excuses that I could come up with that would show the conditions and circumstances weren’t right.

After a while, though, I realized I would always have these excuses. There would always be a reason to not sit down and write the essay, always some excuse that it wasn’t the right time to adopt a cat. Too often we put off doing what makes us happy. We say the circumstances aren’t right. We say we’ll start on Monday. We say we’ll start doing what we love in the New Year. We put off doing what we love. The conditions aren’t always going to be perfect, but if it’s what you want, you need to make the conditions work for you.

So when I landed my current job, I started looking on the humane society’s website for my fur child. A few months later I came across Murphy’s profile, and I knew it was a done deal. The conditions weren’t perfect—he was at the animal shelter almost an hour from my apartment and he was also sick when I got him. However, adopting Murphy has been one of the best decisions I’ve ever made, partly because he’s adorable and I like him more than most people. The other part is that he’s actually helped me get back into a writing routine. 

He doesn’t put up with my excuses. When my alarm goes off at 5:30 AM so that I have time to write before work, I don’t have the option to hit the snooze button. As soon as the alarm sounds, Murphy uses my body as his own personal trampoline. It’s hard to ignore a 15.5-pound cat standing on you, especially when said cat moves his paw to your neck and cuts off your air supply. Additionally, when I come home from work and I’m distractedly updating my blog while watching Parks and Rec, he’ll sit in front of the TV until I refocus on my writing.

If Murphy’s taught me anything, it’s that the conditions for anything won’t ever be right. 

But now I’m willing to make them work for me.