The Beginning Was a Struggle

Back then, I was struggling to make it as a writer. I’d gotten exactly one short story published, and was among the throngs at the conference desperate to pitch to a literary agent. I had been working hard, but it felt like I was never going to get where I wanted to go. That was the mental place I was in when Gabriela started to speak. And somehow, even though it wasn’t even about my project, she said exactly what I needed to hear. She showed me that there was a path— a path that others had taken before me, a path that could illuminate my next steps. She showed me that it was normal to feel discouraged, but that there were places to draw courage from. She inspired me so much that when I left that room, clutching my worksheet with the DIY MFA logo on it, my gut instinct was screaming at me: “This is important. I want more of this.”

I immediately bookmarked the DIY MFA website. Then I thought up a question from the conference presentation to email Gabriela, solely for the purpose of establishing contact. I started reading the blog regularly. When Bess, then-editor of the site, published a post requesting submissions for their “5 on Friday” series, I jumped at the chance to write for DIY MFA. After a few of my posts were accepted, Bess and Gabriela invited me to join the team as a columnist. At subsequent Writer’s Digest Conferences, I wasn’t just an audience member. I went to DIY MFA gatherings, had dinner with the team, and once even recorded a podcast episode. 

DIY MFA Helped Me Build Community

This sort of inclusivity affected me deeply. I began to call myself a writer. I felt braver about reaching out to agents and publishers, and my writing resume grew. Gabriela showed me a path, and she showed me that I wasn’t alone, and that was all I needed to get where I am today. A place that I’m proud of. 

You may wonder why I’m telling this story, after nearly six years of writing the “Be Well, Write Well” column for DIY MFA. Sadly, this is to be my last column. Just as I felt compelled back then to reach out, I feel compelled now to move on. But I couldn’t leave without expressing my gratitude to Gabriela and DIY MFA, or imparting a few last pieces of wisdom. 

Be Well and Write Well

So, for the last time, here’s how to Be Well and Write Well: 

Keep your eyes open. Try new things. When in-person conferences happen again, go to them, and meet people. Listen to a new podcast; follow a new writer; reach out to an author on Twitter. Trust your gut. If your gut tells you that someone inspires you, stick with that person. If your gut tells you, “This is important. I want more of this,” go out and get more of it. Deepen your relationship until you’re a part of the conversation too. 

As you grow, inspire others with what you’ve learned. Be kind to those who come to you for help. Mentor whomever you can. Instruct with empathy and encouragement. Teach from the heart. 

When your writing life stagnates again— as it will, because it does for everyone— repeat the cycle. Keep your eyes open. Trust your gut. Deepen your relationships. Help others. Repeat, repeat, repeat. It all pays off, even when you can’t see it yet. It all leads somewhere, even when the path isn’t fully illuminated from the start. 

DIY MFA readers, team members and friends— thank you for allowing me a voice in this incredible community. I value each and every one of you, and I will carry all of your voices with me as I move forward. 

And Gabriela— thank you for being the first writer to show me the path. 

Leanne Sowul is an award-winning writer and music teacher whose work has appeared in such places as JuxtaProse Magazine, Barnstorm Journal, Rappahannock Review, Hippocampus, and Mothers Always Write; her live readings include Read 650’s “Gratitude” show at Lincoln Center. As an elementary band director, Leanne can play every woodwind, brass and percussion instrument (just don’t give her a cello!) and has directed over two hundred student performances. She also coaches adults in the art of creative practice through her newsletter, The Joyful Creative. In 2017, Leanne won both the Scott Meyer Award for personal essay and the All-American Dream Champion Award for music teaching. Leanne lives with her husband and two children in the Hudson Valley. Connect with her at leannesowul.com or on Twitter and Instagram @sowulwords. 

The post Trust Your Gut: My DIY MFA Story appeared first on DIY MFA.

As an instructor, the value of peer critique over the potential negative experience was not there, so I developed a form of passive critique. My goal was for students to grow in their writing without the uncomfortable feedback that wasn’t necessarily productive.

DIY MFA 101’s Critique Sessions

With inner awareness, I am open to another point of view and perhaps a paradigm shift. Enter DIY MFA 101’s critique sessions. My goal for the course was revising and editing my work for publication. As the critique sessions became available, I didn’t dive into the opportunity. Instead, I steeled myself for the recordings to observe a known dynamic of discomfort, a not necessarily expansive exercise.

After the first critique session, I reconsidered my perspective. With Gabriela’s approach, the clear parameters considered peers as actual beings when receiving feedback. I believe most creatives are quite connected to their work, so critique is a personal experience. The session’s vibe surprised me. Writers are placed in the spotlight via their work, and they themselves are seen.

I found the response was a blend of success along with challenge areas. The brain is wired for negativity as a survival response, and that can be contagious. It was interesting to see that those providing critique didn’t seem to feel the impetus to say just anything, as thoughtful response was encouraged. At this point, I relaxed a bit more into the process, still observing the session more than listening to the content.

Critique sessions with Gabriela are multifaceted. I noticed something extra was surfacing. A reader’s response. Writers are getting to know who their readers are. It is rare to receive such feedback from actual readers: why the reader is captivated with your work and what personally resonated with them. The response came from both actual genre readers as well as those that relate to the story in some way. For a peer review, I found this very intriguing. I think of it as a beta-reader preview.

Writers can learn from response to others’ work. Gabriela encourages writers to consider all feedback in regards to their own writing. This component was especially motivating, for there is a fine balance between supporting the writer while considering your own learning. This is healthy interdependence at its best.

As a former English and art instructor, I believe one goal is to learn to discern feedback, encouraging ownership of one’s writing. Growth being the target, the work being something that you’d like to get out in the world. Creating a trusting environment is the foundation for the experience. Gabriela creates an atmosphere by placing writers in a safe space and drawing in response when it strays.  At this point, I found myself looking forward to each individual’s critique, leaning into certain writers’ manner of cogent response. Interestingly, in this space, your potential future critique group begins to form.

In a trusting environment, one can discern what is valuable feedback, what is not to be considered as heavily, and what to discard. Remarkably, I found that neutral and irrelevant feedback is useful. A writer can consider the source and get to know the response. Knowing who your work is not for and what your work is not, along with whom it is for and what it is, has value. As every response has an aspect of significance, your writing and discernment improves as you hone your critique-receiving chops. Gabriela’s critique sessions create space for practice and growth.

To develop the ability to receive feedback is key for writers and artists alike. Gabriela’s 101 course provides an excellent place to start. As your work gets out there, feedback will come in many forms. There will not always be a gatekeeper, a Gabriela, to filter content and provide expertise. Discernment assists in refining feedback response. It provides structure that allows the writer to take in information and mine for growth without being overwhelmed by judging the experience and individuals providing critique.

Gabriela’s space is safe and respectful. The participants are provided guidelines for response and the writers are provided parameters for asking questions, not responding to critique. I noticed that there is a form of allowing that takes place on both sides. When you take the approach that everyone’s doing their best in that moment, the space remains clean.

Gabriela is the last to speak. Though I found that individuals still tend to gather in lines of thought, leaving her pure gold to the last allows the peer group to chew on and suss out areas they may not have explored. Her response carries prime content for improving your work. Whenever Gabriela speaks, my fingers are on the keys taking notes, highlighting, underlining, and bolding as her writing expertise is shared with the group.

Finally Relaxing

As the sessions continued, I began to relax into the process. Before these meetings, I would have never considered a peer group for review of my work. I believe it is important to find your cohort where you are of comparable mindset, with a window of common acumen and on the same path regarding goasl. The individuals need to be all-in, prepared to bring their A-game. It’s not necessary that everyone has the same level of knowledge and expertise in writing. It is important that parameters are mutually respected and the spirit of allowing as well as integrity is maintained.

As we are the culmination of our experiences on this planet, being open to the what-if is key to peer critique. After Gabriela’s sessions, I see the process in a whole new light. Dynamic transformed, paradigm shifted. When there is trust, compassion and an understanding of what the other is experiencing, a valuable response for growth occurs. Our ultimate goal is to share our work with our readers, peer critique can be an integral part of the journey.

In that, I’ve met others with similar views on peer critique. 

Consider this: If peer critique is not your comfort zone, lean into the possibility. It’s the little things that culminate into progress. A writer can begin by observing. Then be prepared to thoughtfully respond, using your writing skills and readership hat. When you are ready, submit your work for feedback. Discern and ask questions. Gabriela creates a dynamic safe space for such an undertaking. It’s a great place to start your peer review adventures in critique.

Chere Hughes is an author and instructional designer who writes middle grade and adult fantasy fiction. From a perspective of within, Chere expresses motivations of the human spirit. Her colorful writing spins tales integrating current culture within fantasy realms. As a former English and art instructor at Vincennes University, Chere has designed numerous courses. She blogs on her website at Cherehughes.com You can find her on Instagram, Facebook and Twitter Chere lives and writes in Flagstaff, AZ.

The post Key Features in No-Fear Critique appeared first on DIY MFA.

In today’s edition of Theme: A Story’s Soul, we’ll explore how trust is demonstrated as a theme in two novels from different genres. As you read the examples, pay attention to any common elements that pop up. You might be surprised with what you find.

Before we go on, let’s take a moment to revisit our working definition of “theme” from our first Theme: A Story’s Soul article, “What Is Theme and Why Is It Important?”.

Examples of Trust in Scott O’Dell’s Island of the Blue Dolphins (Historical Fiction)

Island of the Blue Dolphins tells the story of Karana, who’s stranded on an island for two decades after her people leave for mainland Mexico. Despite her isolation for most of the novel, Karana rediscovers the importance of trust through her taming of the wild dog Rontu, and later with a young Aleutian woman named Tutok. We’ll focus on the latter example here.

Karana’s immediately mistrustful of Tutok when they first meet. The Aleutians (not necessarily Tutok’s clan) had killed Karana’s father and most of Karana’s tribe earlier in Island. So, when more Aleutian hunters visit the island and Tutok wanders into the cave where Karana’s hiding, Karana doesn’t view their meeting as a friendly coincidence. Her narrative of their encounter seethes with bitterness: “She wished to know if I lived there in the cave so she could come back with the men and take me to their camp. I shook my head and pointed to the far end of the island, away, away, for I did not trust her.” (138) Even as Tutok reacts with kind gestures, Karana suspects Tutok’s intentions and refuses to answer her questions.

As Tutok returns every day to visit, Karana realizes Tutok hasn’t betrayed her to the hunters. Her attitude toward the Aleutian woman thaws, and she learns to enjoy Tutok’s company. Then, on Page 143, Karana decides to share her secret name with Tutok. In Karana’s culture, secret names are known only within one’s immediate family; and as Karana explains in Chapter One, “if people use your secret name it becomes worn out and loses its magic.” (5) She also admits her belief that her father had doomed himself by revealing his secret name to the Aleutians, who later killed him (24). Therefore, her own revelation to Tutok is a milestone. It symbolizes her complete trust in a woman she once believed was her enemy.

Examples of Trust in Karina Sumner-Smith’s Radiant (Fantasy / Science Fiction)

In Radiant,a homeless orphan named Xhea must save the ghost of a young girl named Shai, whose powers can generate electrical and magical energy for her home tower – at Shai’s expense, and regardless of whether she’s alive. Xhea’s alone in every way when the novel begins. In addition to being orphaned, she’s an outcast because of her unusual talent for seeing and communicating with ghosts. She never questions her lack of trust, until she meets Shai.

Initially, Xhea treats Shai with callousness and indifference – the same way she treats others. However, as the two girls travel the Lower City together, Xhea slowly drops her guard and shares her past with Shai. On one occasion, the ghost reaches out to comfort Xhea: “It was the first time anyone had touched her voluntarily for more years than she could remember. Stranger still was the feeling that followed: the desire to lean in to that touch, however insubstantial.” (50) In this seemingly small moment, Xhea recognizes her craving for companionship and her willingness to trust someone who cares – even if that someone is dead.

As Radiant goes on, Shai continues to prove to Xhea her reliability and devotion as a friend. One night, as the girls flee from their adversaries, the ghost offers to take the night watch so Xhea can sleep. Here’s what Xhea realizes then:

In that moment Xhea wanted nothing more than to have again the strong tether that had joined her to Shai, and the security of knowing that there was nowhere she could go that the ghost could not follow.

Instead, Shai whispered, “Trust me.” As if her words were tether enough.

And they were. (189)

Using the tether (an actual physical connection Xhea and Shai shared earlier in Radiant) as a metaphor, Sumner-Smith demonstrates Xhea’s understanding and comfort in the fact that she trusts another individual with her life. It’s a visceral, evocative way of describing a bond between two people, and one that makes perfect sense.

Keys to Exploring Trust as a Theme

Based on these examples from Island of the Blue Dolphins and Radiant, what elements helped convey trust or mistrust? Did you discover any similarities? Here’s what I noticed:

• Relationships: Developing new friendships allow Karana and Xhea to build trust with other characters.
• Isolation: Karana’s physical solitude (being stranded on an island) differs from Xhea’s social isolation (homeless and ostracized), yet their circumstances contribute to their struggles with trust.
• Negative / Opposing Emotions: O’Dell in particular creates a necessary contrast by giving Karana reasons to be mistrustful or suspicious of Tutok at first.
• Repeated Behaviors: Tutok and Shai act consistently and with integrity toward Karana and Xhea, respectively. Repeated behaviors can therefore establish and maintain trust between characters.

This is only a sample list. You may have found other techniques or similarities that aren’t listed above. However, this list gives us a good start for studying the theme of trust in other novels and weaving it into our own stories.

It’s Your Turn!

• What stories have you read that explore the theme of trust? How does the author accomplish this?
• Write a story about a character who has difficulty trusting others. What caused the protagonist’s mistrust? How can it be healed so the protagonist learns to trust others or himself/herself again?
• In your opinion, what qualities make someone trustworthy? How have people proven their trustworthiness to you in the past?

What are some topics you’d like to see featured at Theme: A Story’s Soul? Share your thoughts by commenting below or tweeting me at @SaraL_Writer with the hashtag #AStorysSoul.

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Sara Letourneau is a Massachusetts-based writer who practices joy and versatility in her work. In addition to writing a fantasy novel, she reviews tea at A Bibliophile’s Reverie and is a guest contributor for Grub Street Daily. She’s also a published poet whose works have appeared in The Curry Arts Journal, Soul-Lit, The Eunoia Review, Underground Voices, and two anthologies. Learn more about Sara at her personal blog, Facebook, and Twitter.

The post A Case Study on Trust as a Literary Theme appeared first on DIY MFA.