A few weeks ago, before COVID-19 blew up like it has, I had the opportunity to interview Kay about their experience in An Unexpected Light. This is an excerpt from that interview, focused on answering concerns that folks might have about taking the course. The transcript is below.
Although we didn’t talk about COVID-19, I want to write about something that Kay brought up, and why I think that we need to find ways to imagine possible futures right now, despite the chaos and fear and the way that this pandemic is highlighting just how precarious so many of us are.
For example, why didn’t the stock market set aside three months of savings and give up avocado toast before this? Honestly, irresponsible. (I can’t take credit for this joke, but I do love it.)
In our interview, Kay says, “I think that pretty much everyone and anyone could really benefit from it, because there is so much of a push, especially in science fiction, to imagine dystopia. And dystopia is not very hopeful, if anything it’s quite damaging in a lot of ways and it’s not inclusive and it’s not intersectional. Like, if there’s a dystopic future, chances are you know who’s gonna go first; everybody living in the margins. This [course] is kinda the flip side of that, where the margins are creating a new world and a new path through that muck and mire, around that muck and mire, over it, under it, floating above it. Like, it’s just…hope is such a beautiful thing, and it’s much more accessible than people might even realise.”
It is so easy to tell the dystopian stories, to picture the dystopian future, to imagine the many ways this is awful and getting worse. And it is awful, and it is getting worse. But those dystopian stories do not help us move forward.
We must find a way to be present with the difficulty of this moment, without losing our ability to act on hope – not the flimsy hope of “everything will be fine!” but the robust hope of action and intention. Rebecca Solnit, in Hope in the Dark, writes, “Hope is not a lottery ticket you can sit on the sofa and clutch, feeling lucky. It is an axe you break down doors with in an emergency. Hope should shove you out the door, because it will take everything you have to steer the future away from endless war, from the annihilation of the earth’s treasures and the grinding down of the poor and marginal… To hope is to give yourself to the future – and that commitment to the future is what makes the present inhabitable.”
“To hope is to give yourself to the future… to make the present inhabitable.”
We need that hope.
We need to act – to be connected to a sense of possibility, to a sense of ourselves as acting in solidarity with each other when we stay home, to a connection to the earth and our non-human relations. There is hope to be found in this time, and we must reach for it.
You don’t need to take An Unexpected Light in order to find that accessible hope.
You don’t need this course to bring that light into your life.
But I do think that many of us need the light. Whether it comes from a course or it comes from our communities or it comes from forgotten books on our own bookshelves.
I am in the process of converting some of the content in An Unexpected Light into some free lessons that I’ll be sharing on this blog, and into a ‘light’ version of the course that will be less costly and meant for folks who are in quarantine or isolation.
And in the meantime, find the unexpected light.
Find the people on the margins who are writing about possible futures.
Find the voices that are guiding us through to more justice, to more community care, to collective action.
Here are a few places to start:
Kay references Vandana Singh’s essay Leaving Omelas: Science Fiction, Climate Change, and the Future. It’s one of the essays we read in the course, and it’s fantastic. In the time of this pandemic, this essay is even more relevant. Singh writes, “We are taught to unsee the connections, to look at the world in chopped up, disconnected little pieces. Our Omelas constrains our empathic imagination to small personal circles, and to short scales of time and space. Science fiction should enable us to see structures of oppression and control, to make us aware of and question the things we normally take for granted, and to expand our imaginative reach. But more often than not, science fiction simply reflects the world in the image of the overwhelming paradigm.” COVID-19 is forcing us to see the connections, and it has the potential to expand our empathetic imagination. That this essay was written in 2018, about a story written in the 1980s, should tell us that there is guidance to be found in our history. There are maps that we can follow, even in these new and terrifying times.
Consider spending some time with the Destroy series – a set of special issues in Lightspeed, Fantasy, and Nightmare magazines that includes People of Colo(u)r Destroy; Queers Destroy; and Women Destroy. Start with People of Colo(u)r Destroy Fantasy (And within that rich wealth of stories, consider starting with Darcie Little Badger’s pandemic story, Black, Their Regalia.)
Another essay included in An Unexpected Light is Lewis, Arista, Pechawis and Kite’s essay Making Kin with the Machines. We are realizing how critical our machines are – our internet, our ventilators, our computers and phones. This essay brings Hawaiian, Cree, and Lakota perspectives to the idea of machines as kin, as part of our network of non-human relations.
Read Brairpatch Magazine’s article, Mutual Aid for the End of the World. “There is so much latent strength in communities of disability when we rely on each other to survive with each other,” says Jim, an autistic trans man with disabilities who is mixed-race Indigenous. (Jim asked that we use only his first name, for privacy.) “Able-bodied people who have the choice to go it alone without consequence, or who have wealth and influence or access to resources that enable them to make it on their own – it’s a choice for them to do this work [of prepping], not a necessity. We rarely learn hard lessons voluntarily.”
adrienne maree brown (who is, truly, the core of An Unexpected Light even though she doesn’t know it! Her work inspired this course and her writing is central to the course) shared a collection of resources in this blog post.
And last, consider backing Hugh and Nicole’s COVID-19 comic. Their work is fantastic, and this will be an excellent resource.
Keep an eye on the blog, I’ll be sharing content from the course, as well as ideas and resources for moving through this time.
If you want to take the course, get in touch! You can also register at the Thinkific course page. (Note: all of the scholarship spaces have filled, but sliding scale is still available.)
Either way, become phototropic – turning towards the light. And if you can, become bioluminescent, creating light for others to turn toward.
As Kay says, hope is a beautiful thing, and it’s more accessible than people may realize.
TS: So if someone was kind of on the fence about taking An Unexpected Light, what do you think is the most important thing for someone to know about the course if they’re debating whether to take it?
KO: Hmm. Cause like a lot of different factors can go into somebody debating whether or not like, am I a writer? Like identifying as a writer would be a big one. Like, I know that that was kind of a contributing factor and I mean, there’s no pressure on you to do that, and like, if you’re like, “am I a reader? This seems overwhelming.” Same thing goes, like there were certain parts of the course that I like just couldn’t deal with, so, I mean, I just put them off [laughs] indefinitely.
TS: That’s fair.
KO: You can skip over stuff. If accessibility seems like an issue, like financially, I know I worked out a payment plan with Tiffany that worked for me, and my money, my financial situation, so that’s another really awesome option for people and that I know Tiffany’s open to.
KO: Another thing would be like, “am I gonna be graded on this?” The idea of like, learning or doing or making… I came from an art school background. I got a BFA from ACAD [now Alberta University of the Arts] and I really like the approach and style of this course because there’s no grading unless you want feedback for your writing and even then. I was just a reader and did a little bit of feedback for people and then you get the chance to read some really amazing stuff.
TS: Yeah, as the person who got to read everything that was submitted and then only sent it out to the folks who volunteered to be readers, yeah, the writing that has been shared in the course has been fantastic. And if folks are worried that you’re not a writer, I can tell you that some of the most profoundly moving pieces have been written by people who don’t see themselves as writers and who maybe hadn’t even written speculative writing previously. Because we’re thinking about the future and hope and possibility and justice, and I don’t know, the course just, this cohort of the course has been full of brilliance.
TS: And that Kay’s word. Kay came up with that at the Shiny writing group.
KO: [laughs] Everybody was jumping on it and I love it. “Cohort” is just like a really, you know? It’s just like, I love it. Everybody’s in this, you know, bumping shoulders, “Kay, what’s up?”, bumping elbows…
TS: Yeah. Trying to imagine futures together.
TS: Would you recommend people take the course?
KO: Oh my God. I haven’t stopped talking about it since before I was taking the course. I think that pretty much everyone and anyone could really benefit from it, because there is so much of a push, especially in science fiction, to like, imagine dystopia.
And dystopia is not very hopeful, if anything it’s quite damaging in a lot of ways and it’s not inclusive and it’s not intersectional. Like, if there’s a dystopic future, chances are you know who’s gonna go first; everybody living in the margins. This is like, kinda the flip side of that, where the margins are creating a new world and a new path through that muck and mire, around that muck and mire, over it, under it, floating above it. Like, it’s just…hope is such a beautiful thing, and it’s much more accessible than people might even realise.
KO: And like, I never would’ve really realised that Indigenous people had already lived through the end of the world if I hadn’t been a part of this course, so. It’s weird to think about, but that’s just a history that we’re not introduced to; it’s not a perspective that you hear. It’s like, no First Nations really did live through the end of the world; their world, everything they knew. So, that’s a huge takeaway in and of itself, so. Anybody who is talking about decolonising anything should probably know that.
TS: Yeah. And I think it really serves a colonial, capitalist narrative to imagine that the apocalypse we’re facing now is “the” apocalypse, and to ignore the fact that you know, first contact was an apocalypse and the transatlantic slave trade was an apocalypse and is an ongoing apocalypse. And the inaccessibility of care to trans folks is an apocalypse.
TS: And ableism in our culture is an apocalypse, and each of those communities not only is surviving the apocalypse, they are figuring out how to build possible futures.
KO: And everybody it seems like is survivance. That was one of the things.. I’m about it now; it’s not about simply survival, it’s about vibrance, it’s about…there’s levity there, there’s joy to be found there, and there’s future to be found there and so, like, it’s not just about surviving it anymore. Yeah. [Kay gives two thumbs up]
KO: [laughs] Take the course!
TS: Yes! Take the course! [laughs]
KO: I feel like I always get off track so that’s my takeaway: Do it. But only if you want to.
TS: Yeah. Yes.
KO: No peer pressure! [laughs]
TS: Is there anything else that you wanted to say, either about your experience writing or your experience in the course that you think you’d like to have in this interview?
KO: Hmm. Lemme think. Nothing immediately comes to mind other than the fact that I really liked the idea of, I loved that you kind of had Octavia’s Brood at the core of it because that is some stuff. Like, there is some brilliant writing in there. And the essay, is it Leaving Omelas?
TS: The Ones Who Walk Away From Omelas.
TS: I think? I don’t know, actually.
KO: Yeah, I wasn’t sure either, [laughs] but I say it both ways just to…
TS: But, you’re talking about the essay by Vandana Singh?
KO: That was, like, one of the most.. I think that was a point of clarity when I read that, it kind of put everything in focus for me. And that was when I really stopped to think about what I was writing. So, I don’t know if it’ll ring true for other participants like that, but, it really, it’s an incredible essay. And even just the dynamism in it, and talking about like, what is it? Newtonian physics?
KO: And like, that being a thing. It’s just so good, everything about it. It’s an excellent essay.
TS: It’s an excellent essay.
KO: And, what was the quote that you say, like “writing science fiction is like, everything…”
TS:“All organising is science fiction” which is a quote by adrienne marie brown.
KO: And that was something that I’d also like to leave with anybody that’s considering this course and not sure. It’s like, getting together to, online, to talk about this, emailing Tiffany your work, considering this course, like, all of it is creating possible futures and maybe bringing something into the world, so. [sings]: Science fiction! [laughs]. It’s not all just like ancient sexist Star Trek! [laughs]
TS: It’s true. It’s so much more than that. Awesome. Thank you so much.
This is our monthly Shiny! speculative writing group letter. Our first regular letter! I’ve been thinking about who we are as a group, and what we’re trying to do, and the obstacles that we might need to navigate.
I decided on magpies, because I love magpies.
They are inquisitive, curious, and creative. These are skills we need in this group, as we explore and investigate the complexities of the present in order to imagine more hopeful futures.
And they are forever seeking out the shiny hiding in the gutters and the trash and the deepest, thorniest thicket. We need this skill, too. The little bits of sparkle that we find together in this group will help us build nests for the future. (It is important to note that magpies aren’t actually more drawn to shiny objects more than any other bird – if you are a sparrow or an eagle or robin or a turkey vulture, you, too, are valuable and necessary and you, too, will help build the nests to hold the future.)
And magpies are brilliant and adaptable – recognizing the faces of allies and threats, using tools, adapting to hostile contexts. Magpies are one of the species that have fully adapted to urban living, and that thrive in spaces that have been fundamentally altered by human intrusion. This is another skill – to adapt, to recognize threat and to thrive despite it. (And perhaps to swoop at the heads of a threat, like Australian magpies do!)
So, my lovely magpies, let’s dive into this letter.
You’ll find the craft lesson first, then shared writing from the February session, some recommended reading, the writing prompts for March.
Shiny! is open to writers of all experience and confidence levels, and the reason we are not engaging in craft lessons at our in-person meetings is because, although ‘steering the craft’ (to borrow from Ursula K. Le Guin) is important, first we must be invited in. First, we gather up our words and our threads of story. First, we learn the sound and feel of our own voice. That’s what we’re doing in the in-person writing sessions. Once we have gathered a rich pile of words and stories, then we can figure out what to do with them.
Then we learn how to string those words together in ways that are most effective, and how to use our voice in ways that are most accessible to our audience. That’s what we’re hoping to do in these craft lessons.
You do not need to engage with these craft lessons in order to participate in either the in-person or the online group. They are entirely optional. However, if you do decide to engage with the craft lessons and would like to chat about them or receive feedback on your work, you can bring them to the group or email them to me. (We will eventually have a dedicated online space, most likely a Discord server, but since this is all volunteer on my end and I’ve got a bit of a learning curve to get that set up, we don’t have it yet. Bear with me!)
So, our first craft lesson!
We are starting with dialogue, since this was one of the requested topics at our launch party in January.
One of our participants shared that they have lots of character sketches and settings and narrative ideas, but they struggle with how to write dialogue between these characters.
This was a shared experience for many of us!
There are whole books written on the topic of writing dialogue (including a wealth of books on screenwriting, which offer insights that can be translated over to other forms of writing). Many of us speak all the time – to each other and to ourselves. We play over conversations in our minds, remembering or rehearsing. We listen to other people engaging in dialogue, too. We are surrounded by dialogue!
But it remains challenging to write, partly because we are so immersed in conversation throughout our days, and what we write on the page sounds off if it is exactly like what we say and hear throughout the day. Our writing needs to capture the feel of conversation, and that means that we need to learn which parts of spoken conversation need to be cut away in order to leave the core intact and convincing.
Here are a couple exercises to work with:
Practice rewriting dialogue
Record yourself having a conversation with a friend. This works best if the conversation is about something, so that you have some clear themes to work with. I suggest recording five minutes of rich conversation (which may mean setting your voice memo recording and then chatting for twenty minutes, and choosing the richest five for this exercise).
Transcribe those five minutes of conversation.
As you’re transcribing, pay attention to all of the filler in the conversation, and all the bits that could be edited out in order to make the dialogue easier to read.
Once you’ve done this, rewrite the conversation. Keep the core of it – the meaning, the flow, each person’s separate voice. Work on shaping that dialogue into something that reads smoothly but remains true to the actual conversation you had with your friend.
Dialogue or description?
(This exercise is adapted from the book Writing Dialogue by the San Francisco Writer’s Grotto.)
Put two characters in a setting where they’re stuck together. (The book recommends a car, but I’ve also found waiting room, plane ride, or ticket line settings useful.)
Write the same scene twice, once using only dialogue (what are the characters saying to each other?) and once using only description or summary (what is happening around the characters?)
Which works better?
That wasn’t the plan!
Write a two-part scene.
In the first, have your character imagining what they will say in a conversation that they’re anticipating.
In the second, write them actually having the conversation.
We’ve all had the experience of anticipating a conversation and then having that conversation actually happen, and it rarely works that it goes exactly as planned. (When it does go exactly as planned, this is its own kind of shocking!)
If your character’s conversation does not go as planned, what are the variables that push the conversation off the anticipated track? What is the result of this?
If the conversation goes exactly as planned, what is the outcome of this? How does your character feel? What are the effects on their life or the lives of those around them?
One of our writing prompts was rolling three Magic & Fairytale Story Cube dice. We got a wizard, a treasure chest, and a knight. Agnieszka wrote three haikus, and has allowed me to share them here.
Cloaked in patient leadership,
They stand with courage
An alchemy of wisdom
The Knight (for Tiffany)
The pursuit of truth,
Through deepest sorrow of loss,
Your shining armour
Oh, the joyful abundance
Of being open
To the beauty of pleasure
If we are going to, as Walidah Imarisha suggests, write “fantastical literature that helps us to understand existing power dynamics, and helps us imagine paths to creating more just futures,” then we must be actively and intentionally working to decolonize, to be actively anti-racist, to be working towards justice. And I think that if we want to write good speculative writing, in any genre, we also need a sense of hope and possibility – sometimes our efforts towards justice, especially if we are writing from a place of privilege and trying to be in solidarity, can feel stripped of playfulness and joy. I think we need to find that joy. Our selected links for this month are tied to these ideas.
With the colonial violence being enacted against Wet’suwet’en by the Canadian government, knowing what is happening and how to be in solidarity is important, even if our writing is on other topics. These big moments in our collective narrative are important for speculative writers because in these moments, possibilities for other ways to be in the future open up. So our first link is not related to writing speculative fiction, but it is related to our goal of imagining more just futures. The Wet’suwet’en Supporter Toolkit offers a wide range of ways to support, including links to further resources. As you read through this, what becomes possible in your writing? Does the history shared here, and the story of resistance and resilience, change how you might write possible futures?
Our second reading is Kate Heartfield’s article at Article Magazine, Decolonizing the Future: How a new generation of Indigenous writers is changing the face of science fiction. This is a beautiful read, full of recommendations for books and articles and to read, and clearly articulating why Indigenous science fiction is so important. One thing I love about this essay is that it makes clear that Indigenous communities have been imagining possible futures for themselves that have always stood against colonization, and have affirmed Indigenous rights. Written a couple years ago, I think that this essay is a beautiful pairing with the Supporter Toolkit – the land defenders are holding the future, and Indigenous speculative writers have been imagining that future into possibility. “The concept of “the future” only exists in the present. It can be shaped by the same colonial structures and narratives that shape the North American present, or it can affirm Indigenous land and sovereignty.”
Our third reading is for those of us who want to write, and may not be sure what stories are ours to tell, and how to tell them in respectful ways. Amal el-Mohtar offers a brilliant and comprehensive answer to the question, “How can writers represent people on the margins in their stories? How do writers know when they are being allies and when they are talking over people who could be speaking for themselves? How can I tell, as a writer, when I’m telling a story that isn’t mine to tell?” It can be found in her essay, Writing the Margins from the Centre and Other Moral Geometries.
And lastly, the joy and playfulness, and how friendship makes the future possible. Read more from Amal el-Mohtar in her story Pockets, at Uncanny Magazine. The thing I love most about this piece is how it demonstrates what friendship can mean – the care that Tessa and Nadia and Warda take with each other, the way they check in about what they each need… it’s beautiful. It reminds me of some of my own friendships, the ones that make it possible to stay in this world even when the world is hard and terrifying. The friendships are my favourite thing about this story, but I also love the pockets!
In addition to the readings, I have an announcement!
The Spring 2020 round of An Unexpected Light is open for registration! Participation is limited in this six-month online narrative therapy and speculative fiction course. Shiny! is an offshoot of the first round of this course, which has been really well-received! If you’re enjoying this group, you might enjoy the course, too.
You can find out more (including a link to download the updated syllabus) here.
Our next in-person writing session will happen on March 1, 2020, from 4-6 pm at Loft 112 in Calgary, Alberta. We’ll be writing on the following prompts (probably not all three, unless we are a very small group!) Since our craft lesson this month was dialogue, our writing prompts are loosely themed around communication.
Shiny! is explicitly a speculative writing group, but “speculative writing” can encompass a vast diversity of genres and styles. Whatever you write, keep an eye on the speculation of it. What are you imagining to be different than what is currently known of reality? And Shiny! is also an explicitly justice-focused group, hoping to write our way into more just, more liberated, more possible futures. So if the dread rises up in you and the only future stories feel dystopian, reach in for your inner magpie, wise and adaptable and possible, and find even the tiniest sparkle to grab onto. Bring that sparkle into your story.
If you will be attending the March event, you can choose whether to write on these ahead of time and then polish them at the event, or write another piece on the same prompt at the event.
If you’re following along at a distance, you can write along with these prompts and share them by email if you’d like them included in next month’s letter. To write along, set your timer for 20 minutes and write! Feel free to edit and rewrite or keep writing past the timer, but also don’t feel obligated. Sometimes it’s worthwhile just to get a little bit of writing done, even if it’s not perfect or complete.
“I trust that help will come eventually if I persist in my curiosity, my investigation.” – Susan Power. Write about the help that comes to your character, and about the curiosity and investigation that made it possible.
A hand-written note from another time. (Note, you can take this in many directions – a note found in a book far in the future, a note sent to the past via time travel, a note from or to an ancestor, a note never meant to be found and discovered somehow, etc.)
This is the text of the introductory email sent out to participants in the Shiny! speculative writing group. The email is a digital version of the launch party we hosted in Calgary on January 26, 2020. (This email will also be sent out to new participants who sign up for the email list.)
The goal of this post is to let you know what to expect from the group, set out the various ways to participate, and share the schedule for 2020. This email also includes some writing generously shared by participants at our first Shiny! writing group meeting on February 2, 2020.
Our monthly emails (the first of which will be coming out mid-February, 2020) will not include quite so much background, and will not be as long.
So, first, introductions.
The first introduction is for the group itself.
Shiny! a speculative writing group is an offshoot of An Unexpected Light, a six-month online course in narrative therapy and speculative fiction. Although Shiny! extends the work that we’re doing in that course, and exists because course participants asked for it, you do not need to be a past or present (or even future) participant in the course in order to be part of this group. You can download the syllabus and find out more about upcoming rounds of the course here.
An Unexpected Light was created in response to a growing sense of hopelessness and despair within my communities, and Shiny! extends this work into an ongoing, inclusive, joy-and-justice oriented writing group.
Hello! I’m Tiffany. I will be our facilitator.
I’m a white settler on this land, and the in-person events for Shiny! will happen at Loft 112 take place on Treaty 7 land. This is the traditional and ongoing home of the Indigenous signatories of Treaty 7, which include the Blackfoot Confederacy, including the Siksika, Kainai, and Piikani First Nations; the Stoney Nakoda, including the Chiniki, Bearspaw, and Wesley First Nations; and the Tsuut’ina First Nation. This land is also home to the Metis Nation of Alberta, Region 3, and to all of the Indigenous folks who live here. The ongoing effects of colonization and capitalism mean that this land is home to many Indigenous folks whose traditional land is elsewhere or unknown. Shiny! is explicitly an anti-colonial and anti-racist group, and recognizing the ongoing effects of the colonial project is part of that work.
I am non-binary, and use they/them pronouns. I co-facilitated a Non-binary Superpowers narrative therapy group with my colleague Rosie Maeder in Adelaide, South Australia, and we published a collective document in the International Journal of Narrative Therapy and Community Work. You can read a PDF of that document here.
I’m also fibromyalgia-enhanced, and constantly working to make peace with my inner demons.
I have degrees in English (Hons) and Women’s Studies (Hons) from the University of Calgary, and a Master of Narrative Therapy and Community Work from the Dulwich Centre and the University of Melbourne. I’ve been published in a few places, and have worked as a professional editor for quite a while. I’ve been facilitating writing workshops and groups for over a decade.
We will be getting together in person most months in 2020, with the opportunity to write together, and to share our writing and respond to each other.
The next introduction, you!
This group is open to participants of every gender, orientation, ability, neurotype, race, class, body size, and experience with writing. Youth over 12 are also welcome.
You do not need to be a published or experienced writer to join us – everyone has a unique and valuable voice, and imagining possible futures is work for everyone.
You do need to be interested in and invested in justice and liberation in order to participate in Shiny! The goal of this group is to write possible futures that are more just, more inclusive, more free than what we have now. The status, as Doctor Horrible so rightly put it, is not quo. I hope that this group will help us find ways to challenge the status quo, to find ways forward into futures that are more colourful and more liberated. Futures that refuse patriarchy, colonialism, racism, fatphobia, ableism, ageism, transantagonism, heteronormativity, and all the host of other systems and structures of harm that surround us in the present.
I am so excited to share this space with you!
So, what can you expect from this group?
The in-person meetings will include time to share snippets that we’ve read and appreciated over the last month and to reflect on writing that has really resonated for us, time to write together, and time to share our writing.
These meetings will happen on the first Sunday of most months at Loft 112, from 4-6 pm.
Our confirmed 2020 dates are:
March 1 (at Loft 112)
April 5 (location and time TBD – this will also be the launch party for the spring round of An Unexpected Light!)
May 3 (at Loft 112, tentative)
June 7 (at Loft 112)
July and August dates TBD
September 6 (at Loft 112)
October 4 (at Loft 112)
November 1 (at Loft 112)
December 6 (at Loft 112)
Participants are welcome to write between sessions and bring that writing to the group if they want.
The emails will hopefully support that writing! And also be a way for people to fully participate from a distance.
The Shiny! online component exists in order to make the group accessible to participants who can’t make it to the in-person meetings because of work schedules, childcare, disability, distance, or any other reasons.
There will be two emails per month. The first will be short, and will be sent out the day of the in-person writing group and will share the writing prompts that set for that session.
The second will be more substantial and will go out mid-month, with the first email going out mid-February 2020.
The longer emails will include:
Some reflections on our topic for the upcoming month.
A couple writing prompts.
Selections of writing shared by participants in the last month.
A small link roundup relevant to our topics.
And a craft lesson each month!
These lessons are entirely optional, and nobody will be grading you! But if you want to fine-tune your craft, hopefully these lessons will be a resource. The craft topics requested at the launch party are:
Narrative voice and perspective
How to write short fiction
How to write mystery
These longer monthly emails will be shared as blog posts, which you can find on my website or on Patreon, with a link to the blog post sent out to the email list. If you would like to be added to the email list, let me know!
Here are the two prompts we wrote on at our first writing group session on February 2, 2020.
First, we read an excerpt from Alexis Pauline Gumbs story Evidence in Octavia’s Brood. This was a letter written from Alexis beyond capitalism to Alexis within capitalism. (Although I can’t share that excerpt publicly here, you can find more of Gumb’s amazing future-thinking in this podcast episode.)
The prompt was: Write a letter to yourself from a future beyond an oppressive system that currently constrains you. (Some of these letters are generously shared below, and brought me to tears in the session!)
Our second prompt was generated using the Magic & Fairy Tale Storycubes, and we wrote stories that included a knight, a wizard, and a treasure chest.
Letter to Self from a Post-Apocalyptic Future.
February 2, 2020
(How amazing that I can send this to you! So much has changed over all these years…)
The world made it through!
Somehow, we were able to stop destroying.
I don’t think anyone believed it would ever actually happen… that humanity would finally see Itself as intrinsically part of the Organism that is Earth… that all the self-harming practices – even if they relieve the pain of regret-isolation-sorrow – could be lessened respectfully… and that we-Earth can love us/Itself with compassion again.
Yes! We forgave each other! And Earth forgave us! Forgiving/forgiven for all the damage and harm done out of fear and misunderstanding. We moved forward, toward a patient re-learning how to care for and respond to the loneliness that drove us to distraction, production, the whole illness of progress.
Honey, I know that you *know* how hard this is to do. When the pain strikes, and it seems like nothing will stop it and pretending to “be normal and go shopping” seems like the only way out.
Sweetie, forgive yourself for not knowing. Continue doing what you are doing. I am telling you from here that imagining different possibilities in response to the pain and the regret and the fear, is exactly what was needed.
Relieving the pain makes perfect sense! No judgement against any human on Earth! Searching for true relief – the collective relief, for everyone, every life – through patient, respectful questioning – that is the work that eventually brought us towards Healing. Hope and peace.
We finally saw what really mattered! We saw how incredibly beautiful it all was, we all were! How unbelievably “enough”! And we could stop the cutting, the burning, the packaging, the injecting, the improving. And we stopped!
We looked at each other and at the Earth, and we were stunned. By the sheer beauty and wealth of just being and wealth of Being Just.
We really breathed! We breathed the Air. The Water that remained was slowly but steadily healing Itself because the Earth loves to heal. The Green things gracefully returned.
We were patient and respectfully waited. We used language and music and art and all the ingenuity of Earth to bless Life. With respect and awe.
Agnieszka, I know you offered yourself in Love and Compassion to People/Earth around you.
And I know you were often bound by rules/constructs in your society that created tensions and fear. I am so glad that you didn’t let it stop Your loving and forgiving (despite the harsh pressure to focus on the capitalistic bottom line).
I am so glad you persisted, because your persistence kept the Love growing, and practicing forgiveness allowed it to grow big enough for the Healing to take.
This Healing couldn’t happen without Forgiveness. So, thank you.
Love yourself fiercely. Always.
It’s the fuel of all our Potential.
From a place where you have all the time, the energy, space to do things. Where you are no longer obligated to keep a space in your mind for bills, money and the like.
Don’t worry, each step takes you closer. Each choice, and while it seemed impossible, you weren’t the only one. Everyone wanted to be free of the burden that is capitalism. Time has the value you want in it, and not defined by dollars. Passion is first and no longer questioned as a “side hustle”. I remember the horror, the sadness each time someone asked “what next” expecting the answer to be monetizing. There’s no worry about those kinds of things. There is space enough for everyone to explore, enjoy and live.
Lazy and productive are opposite sides of a coin that is no longer valid. And with them went famine, suffering and the pain of depriving people of the necessities.
The calm that exists because of it is wonderful and is like a vacation that never ends. I remember vacations and loving the way the days were shaped by desire and curiosity. I remember loving them. I know you love them. Imagine a world like that.
Don’t worry. You’ll see it. You’ll enjoy it, and it will all be surrounded by the wonderful relationships you, we, spent so long cultivating.
I wish these letter could carry pictures to show but they only carry words and you’ll have to trust. Trust me. I am you. Trust yourself, and walk forward.
It all fell apart. Everything broke. Nothing is the same. The toil and pain, the exhaustion and the sadness, the aches, the darkness. And more than anything, the fear. It all came crashing down around us. We just couldn’t keep it aloft. It had gotten too heavy. It got wide, and tall, and blocked out all the goodness in the world. It grew sharp edges that tore at our hands, covered in the salt of our sweat, and seeped into our aching muscles. Our nerves were on fire, and our tears streamed non-stop. Until one-day we gave up. We gave in. We stopped holding it up. In the end, it fell heavy upon us. Set to crush every person to nothingness.
We were crushed. We died. But it was not at all what we expected. For what died was not our spirit. Not our bodies. No. What died that fateful day was our fears. Our old ideas. For when it all came crashing down, we realized its immense size and weight were illusions. It’s needles and knives, imagined. Like kinetic sand, it only held its shape because of we all pushed so hard to keep it up. Once we stopped pushing, once we stopped caring, it crumbled into such a fine dust that a light breeze was enough to whisk is away.
Now a warm wind blows, unencumbered by our fears. It fills our souls and lights our minds. We understand that we do not need towers, we need plains. We are all important. There are no gods among us, because it will only create devils. There are no leaders, only advisors. We are all peers, on different legs of the same journey. With different destinations, but all going in the same direction. Towards hope, and love.
So, Joseph, keep your hope. Do not give up as you may have thought about. Be ready to give in. And together we will all get through. The other side is so different and so much better than anything we know right now. Better that we could have imagined. You can do it.
I am so excited to share this space with you.
(Though also excited to never again try and create so many rows and blocks of content in the email list platform. Yeesh!)
There is no cost to participate in this group, but if you’d like to support the work, you can find me on Patreon or you can make a donation through etransfer or at the events.
Have you missed the in-person writing workshops that used to run regularly through Writing in the Margins? Me too!
Introducing Shiny! a speculative writing group.
We’re having a launch party on January 26, from 4-6 pm, at Loft 112 in the East Village here in Calgary. Our first regular writing event will be February 2 from 4-6 pm at Loft 112, and we’ll be meeting on the first Sunday of most months throughout 2020.
Shiny! is an offshoot of An Unexpected Light, a six-month narrative therapy and speculative fiction course. This writing group is open to anyone, whether you’ve taken the course, or are planning to take the course. The group does extend the Unexpected Light conversation about how we tell stories of hope and possibility in times that feel increasingly impossible, but participation in the course is not required.
This launch party will be a combination info session, coffee-and-tea chat, and writing group. Come find out what it’s all about!
Our goal is to build and support a community of writers engaged in creating what Walidah Imarisha describes as, “fantastical literature that helps us to understand existing power dynamics, and helps us imagine paths to creating more just futures.”
Shiny! will include an ongoing online component, with monthly emails including writing prompts and opportunities to participate in virtual writing community, as well as details about in-person events in Calgary, Alberta (and elsewhere). The online component isn’t quite ready to launch yet, but is being designed so that the group will be accessible to folks who can’t make it to in-person events, for whatever reason.
All forms of speculative writing are welcome – science fiction, fantasy, mythology, poetry, and speculative non-fiction including memoir.
Shiny! is an explicitly welcoming space for marginalized and targeted groups, including trans, queer, fat, disabled, neurodiverse, Black, Indigenous, people of colour, and others. An Unexpected Light’s syllabus is full of the speculative work of marginalized writers, and their ability to imagine more just and possible futures has made our work possible.
Everyone has a valid and valuable voice, and writers of all experience levels are welcome.
This launch party will take place on Treaty 7 land, the traditional and ongoing home of the Blackfoot Confederacy, including the Siksika, Kainai, and Piikani First Nations, the Stoney Nakoda, including the Wesley, Chiniki, and Bearspaw First Nations, and the Tsuut’ina First Nation. This is also the home of the Métis Nation of Alberta, Region 3, and of all the Indigenous folks who live here.
There is no cost to attend, but donations will be accepted to help cover costs.
Read Walidah Imarisha’s interview at EAP Magazine.
You may have noticed a new addition to the top menu, a link to the page for An Unexpected Light, the speculative fiction and narrative therapy course that will be launching on October 1. As of August 15, all of the scholarship spaces are filled, but there are still 11 paid spaces available and negotiating an extended or alternative payment plan is totally possible.
This post is a copy of the email sent out to people who have either enrolled in An Unexpected Light, or who have signed up to my Thinkific site. You can do either of those things here!
Phototropism, first defined in 1899, is the mechanism that causes plants to orient towards light. (I anticipate that our journey together will include both the phototropism of turning towards the light of hopeful stories, and also the bioluminescence of creating our own hopeful stories.)
First, a little teaser of some of our content (which I’m hoping will inspire you to enroll, if you haven’t yet, or to let your friends know about this course!)
In the lead-up to the course starting on October 1, I’m going to share some of the great writing that didn’t make it into the syllabus, and some writing about texts that are in the syllabus.
First, Susan Jane Bigelow’s story A Memory of Wind, in Glittership (so you can listen to the audio or read the text).
I didn’t include this story, although it would be a great fit for when we’re working on memory in month 4. But I loved it, so I’m including it here.
Second, this video about Janelle Monae’s science fiction. Although this video was made before Dirty Computer (which we’ll be watching as one of our texts), the points about how she uses music, dance, and costume are all super relevant to the later video. I didn’t include this in the course, but it’s also worth a watch!
And now, the question.
The first two of the textbooks have arrived, and I am thrilled! Octavia’s Brood and Funambulist no. 24: Futurisms are in my hot little hands, and Witchbody is waiting for me at Shelf Life Books. The only one we’re waiting on is Variations on Your Body, which I anticipate receiving within a week or two.
This means, of course, that folks who have signed up early can get their textbooks early, too! As soon as all four are here, I’ll start mailing them out.
So, if you have already enrolled in the course, let me know, dearest phototropic readers and bioluminescent writers, whether you would prefer to receive your textbooks in physical or digital format. If you would prefer your books in physical form, please also send me your address.
Lastly, if you have any questions, especially if you’re on the fence about whether to enroll, please let me know!
And if you can think of anywhere that I should send information about the course, or if you know anyone who might be interested, I would love to hear that, too.
I’ll be sending out a few of these messages with teaser content as we approach the course starting on Oct. 1.
One goal is to generate excitement for the course, another is to share some of the delicious content that didn’t fit into the course, and the last is to start getting some feedback from you about what kind of content most resonates, so that I can tweak the course before it starts.