Writer-to-Writer Talk @ 🔥 L I T erati 🔥

Sorry for the title, by the way. It is late, I felt the urge to blog, and I am somewhat incoherent.


In all seriousness, having the opportunity to attend the Writer-to-Writer talk was phenomenal, especially for the experimental piece I am currently working on. With Dr Shelley Manis interviewing Dr Heather Ann Thompson in an independently-owned book store, Literati, local to Ann Arbor. Throughout the entire talk, I had not heard of this book before (my fault) and had not heard of Dr Thompson prior either (also my fault). The modest space, surrounded by bookcases and the store’s quaint decor, allowed me to be included in the conversation, as if I was in a dialogue with Dr Thompson herself. The comfortableness of the space, too, gave me the confidence to ask my question (though I did nervously fumble a few words once all the faces turned to me).

‘Helllloooo, loved the talk by the way. I really liked that ‘torture’ theme you mentioned earlier. So, when you are in the writing process and are trying to balance in-between from being too vague or too explicit–and choosing what to intentionally include or exclude in your writing–whilst still trying to empathise with and immerse your reader, how do you decide what you want to keep in your writing?’

That is a lot of words. Basically, I was asking, ‘how do you decide what to include or exclude in your writing and how do you avoid being either too vague or too explicit?’

Her response hit home the point of ‘setting up’ your reader to know what is going to happen. I found this concept to be interesting. Dr Thompson highlighted the age-old concept of ‘show, don’t tell,’ as she described her writing process in detail. For example, setting the vibes of a scene or the character’s appearance, etc., all can enable the reader to already connect and feel the scene without it even happening. As she pulled up the example of a gory torture scene from a recent movie, she described how properly setting up the scene to the reader can convey the emotions of the event without having the event explicitly happen. This allows the reader to easily predict what is going to happen, based on a scene that is possibly just a few seconds before the plot’s climax. I think this is great advice to keep in mind when trying to stir up the reader’s emotions, through symbolism and metaphors versus explicit behaviours and actions.

My favourite takeaway from this (especially being a strong supporter of the feminist theory!) is when an audience member asked her a question about the intersection of her social identities when writing Blood in the Water: what is it like to be a white woman writing a book like Blood in the Water (which describes the experiences of people-of-colour)?

Dr Thompson said that, as a white woman who has convenient access to resources to research these issues, she has an obligation. Dr Thompson’s voice raised with a strong fervor as she said that, and the energy and passion (which was one her favourite words, by the way) vibrated throughout the room.

She really did make history come alive.


You can see the Michigan Daily article that covered the talk, too!


An Interview with William Styron, and His Advice

Upon looking up the different writer’s interviews, I found some familiar authors, such as Toni Morrison and Stephen King, but once I began to read their interviews, I connected with some things and felt lost when they were referencing books in which I had not read. So, I decided to choose a writer that I hadn’t necessarily heard of before and try to learn his style and why writing is important to him. That was when I found William Styron.

At first, I could relate to his relationship with music and how it spurns his creativity and can affect his mood. Styron credits his love of music as being the force of his life allowing him to write. While I don’t credit music being the force allowing me to write, I believe music can fill people with passion and have the ability to change the mood of people. I use music when I am feeling a little stressed out or upset to uplift my spirits as I become much happier after.

Aside from our common interests, what really drew me to read this interview was how it ended. Styron ends his interview by giving young aspiring writers advice on how to become a successful writer. His first point is, “a writer must have read an enormous amount by the time he begins to write.” This point pertains to me so much that I spent the majority of my “Why I Write” piece talking about it. I grew up reading the sports page every morning and really enjoyed reading different columns by the same journalists every day; it was not because I needed to catch up on the game the night before, I had already watched that. It was because I really enjoyed the voice in which each of the journalists wrote in. I felt that I was picking up on a recent dialogue, between us, when I opened the paper and read that day’s column. I admired, and still look forward to, reading the homely and friendly tone of Paul Daugherty every morning and his opinions about the sports world, but also society in itself. Reading developed my will to find my own voice in writing, one that I hope to inch closer to while completing the minor.

The next step, according to Styron, is that “you must love language… cherish it, and play with it and love what it does” That was followed by, having “passion and [a] vision.” I believe that all of us in the minor cherish language, because it has affected us all enough to develop our on desire to write. This course will serve as the platform to play with language and provide us an opportunity to not worry about writing to appease a teacher, but to focus on becoming better writers and finding each of our own voices.