I’m happy to welcome Peter Gibb to HeartWood today. I met Peter when I took—and greatly enjoyed—his workshop, “The Joy of Mindful Writing,” at the Pacific Northwest Writers Association conference last fall.
Peter’s award-winning memoir, King of Doubt, is a beautifully-crafted story of self-discovery—a must-read for anyone who’s ever experienced self-doubt. (Is there anyone who hasn't?) When I learned he has a book on mindful conversation in the works, I cleared a space on my bookshelf in anticipation.
As he relates on his website, Peter grew up shy and isolated. Not exactly a conversational whiz. Eventually, though, he caught on to a few secrets that he honed and shared over a 22-year career of teaching, consulting, and coaching conversational skills “on 4 continents, in 3 languages, to Fortune 500 companies, to leaders of the emerging democracies in Eastern Europe, to doctors and bakers and just plain folks, hungry to learn.”
I’m honored to have Peter as a guest today. At the end of his post, you’ll find a link to his website, where you can take a quiz to learn your dominant conversational style. I encourage you to check it out. I took the quiz and not only gained insights into my habits in conversation, but also got tips on tweaking those habits toward more effective and satisfying face-to-face communication.
Now, here’s Peter . . .
First, I’m delighted to be a guest on Nan’s blog. So much interesting talk happening here, and such important topics.
Is there any human activity that has the potential to bring us contentment and provide real connection, more than Great Conversation? Conversation is a master life skill. Essential for parenting, teaching, leading, making friends, getting along with colleagues, selling . . . you know, just about anything and everything you do will be more successful and more satisfying if accompanied by Great Conversation.
But here’s the rub. Not all Conversation. In fact a great deal of conversation isn’t conversation at all. It’s just talk. Talk that does not bring us contentment or connection.
A great deal of talk consists of what I call “Serial Monologue.” This is talk in which two people, supposedly engaged in conversation, are actually just talking heads, listening mostly to their own voices. Rather than paying attention to what the other person is saying, they are more frequently:
Further, when such talkers do respond to the speaker, the most frequent type of response is what I call a “Grabbing Response.” Here is an example:
Person A: “I just got back from a great trip to San Diego with my family. We had a terrific time.”
Person B: “San Diego, we were there in fall of ’17, but it was cold most of the time.”
Person A: “The zoo was really wonderful. My Clara left saying she wants to become a Vet. I’ve never seen her so excited.”
Person B: “Really. We take our kids to the zoo at least once a year.”
Person A is all excited to tell about her vacation, but Person B pretty much disregards everything that A says and launches into whatever story comes to mind. A conversation should be like a dance of connection, but in fact this one is more like a football game, each side trying to grab the ball and score points on some mythical scoreboard. Person B grabs the spotlight from A and changes the topic from A’s vacation to B’s cold vacation in San Diego and how one of the children is going to be a Vet.
Instead of creating connection and contentment, this kind of talk fosters isolation and frustration. Neither talker feels heard or acknowledged. There is no real connection.
What Ears Can Do
We were given two ears but just one mouth. There must be a reason. The most critical ingredient for Great Conversation is “Deep Listening.”
The first step toward deep listening is to get rid of grabbing responses and start using “reflective responses” instead.
Imagine how different this conversation might have been, had it gone something like this:
Person A: “I just got back from a great trip to San Diego with my family. We had a terrific time.”
Person B: “You sound so excited. San Diego. What made the trip so exceptional?”
This is a “reflective response.” There are many types of reflective response, too many to go into here. They all validate the speaker, mirroring back some aspect of what the speaker has said and often inquiring for further about the topic. Note that in this particular response, Person B validates a feeling (excited) and then inquires for more detail (what made the trip so exceptional?) There is no telling my own story, or giving advice, or judgment, or distraction. It’s basically listening, reflecting and inquiring. Simple? Well, not always, but what a difference it will make.
The Power of Listening
Learning to become a more conscious, committed listener is the single most important step you can take to move your conversation from talk to connection and ultimately to “Great Conversation.”
So what exactly is great conversation? Well, that’s a longer conversation. The best I can do in this short time is to say that it’s a skill we can all develop. It’s based on four values whose first letters spell the word C.A.R.E.
If you’d like to learn more about Great Conversation, please visit my web site, http://www.petergibb.org/. Scroll down a bit on the home page, and you’ll see an invitation to take the “Conversational Style Assessment,” a short survey that will help you discover your dominant conversational style. You’ll learn which of four basic conversational styles (Observer, Nurturer, Performer, and Explorer) is your default mode. You’re not locked into any one style for life. You can change your conversational style, but knowing your default style can help you to get oriented and on the path to Great Conversation. Take the assessment and you’ll get a personalized report back from me.
I also have a blog that discusses issues of Great Conversation once or twice per month, and a forthcoming (but not for at least 18 months) book, titled Beyond the Weather: 5 Steps to Great Conversation. If you’d like to be notified when the book is released, please sign up on the drop down form on my web site, or email me: email@example.com
Thanks for Listening. I hope to visit with you again.
Today’s visitor, Kelly J. Beard, is an author whose writing I have admired since we met in a master class at the Tucson Festival of Books two years ago. Along with the other members of the class, I was a finalist in the festival’s literary contest, and Kelly won second place for an essay later published as "Os Sacrum" in Santa Ana Review.
When I learned that her memoir, An Imperfect Rapture, was headed for publication after winning the Zone 3 Press Creative Nonfiction Book Award, I could hardly wait to read it. The book, which debuted last November, is a remarkable story of finding her way in the world after growing up in poverty, within the strictures of fundamentalist religion. The story is compelling, and the writing masterful.
I’m delighted that Kelly has agreed to answer questions today about the writing and publication of An Imperfect Rapture.
Writing has been part of your life for a long time, yet your career was practicing employment discrimination law. Are there skills you developed as a lawyer that also serve you well as a writer?
It’s funny, but my latent love for writing probably served my legal work as much as (or more than) my legal work served my writing. A huge part of my litigation practice was writing motions and briefs, basically marshalling the facts and law into a persuasive story. Thinking about this has just reminded me of a legal writing technique I used while writing my memoir, An Imperfect Rapture. As you know, the writer’s ability to infuse her story with insightful reflection is the very essence of memoir. As opposed to the kind of writing approaches one might take in writing biography (“Just the facts, Ma’am”) or fiction (“Show don’t tell”), memoir’s marrow requires a measure of telling beyond the facts.
As I struggled to find ways to add reflective texture to my story I sometimes used a loose version of a writing technique taught in law school called the “IRAC” method. In short, the IRAC method requires the writer to identify the issue (describe the facts) and then to analyze those facts in light of the law. The analysis part of the IRAC is really quite similar to the memoirist’s reflection.
But to get back to your question, the real skill I developed as a lawyer that served me as a writer was self-discipline; the day-to-day commitment to sit at the computer (or wherever) and work on something you know won’t be finished that day (or year, or maybe even decade) because you believe in what you’re doing. That’s the real work of both practices.
How deeply did you have to dig to bring forth the memories you recount in An Imperfect Rapture? Were they close to the surface or submerged? What helped you access those memories?
I started writing An Imperfect Rapture in my early-to-mid 50s, so the events I was writing about were anywhere from 30 to 50 years old. Like a lot of people—particularly, I suspect, people who had difficult early experiences—I submerged so much of those early years under layers of busy-ness, mostly trying to be a decent mom and lawyer. I hadn’t really thought about writing memoir. I used to write poetry and short fiction, and had started a couple of novels before practicing law. So my thought was that I’d write a novel when I finished practicing law.
All my life I’ve struggled with depression, but for most of my “mom” and “lawyer” years it was easy to stay distracted. I think I was also invested in trying to give my daughter a different experience than I had, so I never talked to her about the events in my memoir. She hadn’t lived in the shame of poverty or experienced the confusion of wildly erratic and unstable parenting, or the violence of their religious faith. When she left home, I fell into one of the worst depressions I’d ever had. And that’s saying something.
I finally found a brilliant therapist who is probably responsible both for saving my life right then and for getting me to write the memoir. I remember sitting in his office one day weeping over the distance between my daughter and me. My expectations of her and our relationship was unhealthy, I realize now, but at the time I felt utterly abandoned by her and betrayed by life. I told the therapist that I was thinking about writing to her—telling her how much I loved her, how irrelevant I felt in her life, how sad I was. I expected him to say, “Good idea, even if you don’t send the letter.” Instead, he looked at me and asked, “What doesn’t she know about any of that? What could you tell her that she doesn’t already know?”
And that’s the book, really.
In the book's acknowledgements, you mention “that first scary thought, maybe I'll write a memoir . . . ” What scared you about the prospect?
The scariest part was knowing I’d have to reveal this whole other life, this person and past no one—not my friends or colleagues or even my own daughter—knew about. I also have a pretty fractured birth-family. Only one of my siblings still talks to me; two haven’t spoken to me for decades. Although my father died in 1996, my mom is still alive, and I didn’t want to hurt her. It felt a little like deciding to pour gas on the charred remains of our family.
How did you move past that fear enough to write your story?
For one thing, I pretended I was writing for the very limited audience of my daughter and perhaps any child she might have, and that they would only read it after I was gone. I focused on telling the truth with as much beauty (skill) as I could muster. And I figured I could keep it from my mom. She’s 90 and doesn’t use the internet. Also, the more I wrote, the more committed I became to that Aristotelean ideal of truth and beauty. That ideal was hugely important in helping me work past any lingering sense of grievance and find a way to be honest with the reader about these deeply complicated people and experiences.
Take us through your journey from initial idea to publication. How long did you spend writing and revising the book? What avenues did you explore in pursuing publication? How did you come to be published by Zone 3 Press?
As I mentioned, the initial idea occurred to me shortly after my daughter started college in 2010. I was still practicing law, but I had my own practice and was able to scale back. I read somewhere that Virginia Woolf wrote two hours a day, always in the morning. She claimed not to have enough creative steam to carry her past the two-hour mark. I took her cue and wrote for two hours each morning (except Sundays—some things never leave us) and always before work or even reading email. The few times I tried to change this schedule either by working first or peeking at email before writing, I lost my creative energy for the day.
After a few years of working on it, I thought I had a pretty solid manuscript. In the summer of 2013, I attended a Master Class with Emily Rapp Black in Taos. The manuscript was 450 pages long. Emily critiqued the entire manuscript (as did the other workshop participants). Emily’s critique was brilliant, and I spent the following year working on the areas she suggested.
Then, in the summer of 2014, I attended a workshop in Tucson. It was affiliated with the Tucson Book Festival and the workshop leader was Rigoberto Gonzalez. It wasn’t a Master Class, so we submitted short (20-page) essays rather than entire manuscripts. I submitted a section of the manuscript. Again, here I was with a truly amazing teacher giving me advice I couldn’t have come up with on my own. As a consequence of those two workshop experiences, I figured out I was not one of those (lucky!) people who can write themselves into the craft. I needed a good teacher (or teachers) or I’d be stuck—never really knowing what or why parts of the manuscript weren’t working.
That’s when I decided to go into an MFA (Master of Fine Arts) program. Please hear me when I tell you that I realize some of the most talented writers I know (and have read) didn’t go through MFA programs. I don’t think they’re for everyone. But at that point (I was moving into my later 50s), I didn’t think I would learn the craft sufficiently without significant guidance.
That winter, I entered the Vermont College of Fine Arts low-residency MFA program. It was a pretty mixed bag, and while I had two fantastic advisors during my tenure there, I also had a couple that weren’t worth the tuition. But I went to tons of craft talks, studied work I might not have found otherwise, and worked diligently at learning the craft and revising An Imperfect Rapture. I ended up submitting the manuscript—essentially re-written and 100 pages “lighter” than what I’d submitted to Emily three years earlier—for my creative thesis in 2016.
At that point I thought, OK, this guy is ready to go. I started querying agents and submitting to a few contests. I don’t know how many agents I queried, maybe 30 or 40, but no one was interested. I think to a certain extent the gatekeepers—the literary intelligentsia, if you will—have a bit of a herd mentality. And, of course, it’s all about making money in that world, so increasingly agents make “safe” choices, a fact evident by walking into any bookstore and seeing how the genre has been cannibalized by celebrity memoirs.
So I started sending queries to independent and university publishers and also entering a few contests that were being judged by people whose work I loved. I don’t know how many contests I entered (not that many because it costs money to enter and it too often felt like a boondoggle), but An Imperfect Rapture was a finalist in two other contests before I submitted it to Zone 3 Press. Janisse Ray was the judge that year (2017). I’d read several of Ray’s books, and she was one of my idols. Her work is not only breathtaking, but important. By Important I mean necessary. So, when I saw the ad for the Zone 3 Press Creative Nonfiction Book Award, and saw Ray was judging, I knew I wanted to enter.
Actually, I almost didn’t. By the time I saw the ad, the deadline was only a week or so away, and there was a page limit of 300 pages. I’d spent two years largely re-writing the manuscript, but also cutting, culling, and winnowing it down from 450 to about 385 pages. The thought of getting it from 385 to 300 pages seemed impossible. Let alone doing so in such a short period of time. But I did. I killed way more darlings than I would have dreamed possible.
So there it is. Ray did love it! The darlings weren’t missed. Zone 3 Press is the press of my dreams. But that’s the contest I almost skipped.
What parts of the book were most challenging to write? Were there parts you enjoyed writing?
The hardest part to write, by far, was the end. Mostly because I didn’t know what I was writing about, and I kept trying out possible ends. As you know, the story in An Imperfect Rapture ends when I’m in my mid-twenties. I tried ending at later dates and with later events closing the final scene. I remember that in the third semester of my MFA I was trying to work out the ending, and not to sound all woo-woo or anything, but in addition to writing, I was spending a lot of time practicing yoga, meditating and praying. And at one point while trying to write the ending, I went into a kind of fugue state and wrote the end scenes. (It was the one and only time this has ever happened to me while writing, so I’m not sure I’d want to rely on it as a strategy for finding my way to an ending, but who knows?) I subsequently edited the heck of the rest of the manuscript, but the ending is the only part of the manuscript I could never really edit. It put itself on the page, and I had to leave it alone.
One of the cover blurbs calls An Imperfect Rapture more of a "coming to terms" story than a coming of age story. Do you agree with that description? What does that mean to you?
Oh, I absolutely agree with that description. I couldn’t pin down what the difference is with any precision, but “coming if age” conjures the idea of mastery: “I came, I saw, I conquered,” as opposed to the idea of “I came, I saw, I understood.” I understood. But I’m not sure I conquered.
You write with honesty about living in poverty. What do you think people who've never lived in poverty don't understand about people who are struggling to get by?
The shame of being poor. And the rage. I read somewhere that the average age of death for men who work as coal miners in Appalachia is 46. There’s a reason for that. Poor people are dispensable in this system, and they know it.
At a few key times in your life, someone challenged you to be more than you thought you could be. At other times, people told you that you weren't good enough. Both experiences seem to have motivated you. How did that balance play out in your life?
That’s the mystery, isn’t it? When I was writing An Imperfect Rapture, I spent a lot of time wondering what my life would have been like if just one or two more kind, empathic people had shown up to mirror someone to me I could love and root for, or if one or two more tough-love kind of people had shown up to mirror someone to me I could admire. So, I’m not dead. I had the life I had, good and bad, so at the end of it all, I feel like it was exactly what it was meant to be. One more kind person (“angel”) or one more challenger (“worthy adversary”) and I might be—who knows, on the Supreme Court? The author of ten or fifteen important books? But one fewer kind person or challenger and I wouldn’t be here, I suspect.
What's next for you as an author?
Right now I’m trying to give An Imperfect Rapture a chance to breathe. Maybe all authors feel like this, but I can’t imagine writing anything I love as much as this book. So, I’m trying not to pressure myself about that. Some readers have asked if I’ll be writing a sequel (a lot of years between 24 and 60), but right now, I really don’t know. I’ve written a few essays I like, but the essay form feels a little constraining to me. I’m moving toward another memoir, I’m pretty sure, but I just don’t know what slice of life is calling me to investigate it yet.
It's National Poetry Month! You didn't think I'd let that slip by unnoticed, did you? What better way to pass the time while waiting for spring's late arrival than to read—or write—a bit of poetry? Short on inspiration? Look no further than the things you encounter every day.
That's the advice of this week's guest, Cristina Trapani-Scott. I first met Cristina fourteen years ago at Bear River Writers' Conference. After the conference, we formed a writers' group with another writer we'd met there. The result was the Sister Scribes, an Ann Arbor-based group that eventually added three more members and became a source of support and motivation for all of us.
An author, educator, and former journalist, Cristina now lives and writes in Northern Colorado. Her debut chapbook collection of poems, The Persistence of a Bathing Suit, published in 2017 by Finishing Line Press, explores the moments that fill the space between surviving a breast cancer diagnosis and accepting the inevitability of change and uncertainty. Cristina's work has appeared in the Patterson Literary Review, Hip Mama Magazine, the Driftwood, Bigger Than They Appear: An Anthology of Very Short Poems, and Sweet Lemons 2: International Writings with a Sicilian Accent. She holds an MFA in poetry and fiction from Spalding University and currently teaches creative writing and composition online.
Find Poetry in Everyday Things
Author Lene Fogelberg is visiting today to share some tips for kick-starting a sluggish creative engine. You may remember meeting Lene (pronounced LEN-ay) when she visited HeartWood more than a year ago to talk about writing, health, and her memoir, Beautiful Affliction.
Lene's Ten Creativity Boosters
Lately, I have been thinking about creativity, especially since I recently experienced a surge in inspiration after returning from our holiday in Sydney, Australia.
Even before I had recovered from jet lag, new ideas for writing projects kept popping up into my mind. I felt compelled to examine this process further, by pondering how, why and when I have experienced bursts of creativity in my life.
Attend to Your Health
Our health has a great impact on all aspects of life, creativity included, but I also know from experience that doing something creative can be a great source of comfort and even alleviate pain. Since this post is about boosting creativity, the first step would be to do what we can to feel healthy and well-rested. But, as I told you, in the midst of jetlag and general post-holiday/travel fatigue, I still felt a surge of creativity that consequently must have been generated from other sources of inspiration.
Get Out In the World
Since we had just come back from our travel to Australia, full of new impressions, my first thought was that this must be a great booster of creativity. To experience new places, sights, sounds, scents and tastes, and to interact with new people. To marvel over the wonderfully cheerful Australian accent, to be called "love" and to "ooh" and "aah" over the fireworks next to strangers who helped us get the best viewing spot over the harbour.
Meet New People
Yes, this, to meet new people, should be its own item on the list. To talk to them, to listen to their stories, and to—just as important for a writer—observe them. Not in a stalker-ish way, but just as they go about their ordinary business. In Sydney, I couldn’t help but notice the street singer who always stood on the same corner in his washed-out jeans and blond curls, singing Hallelujah with a silky voice to the tunes from his worn guitar; the tanned, muscular woman working on the ferry, lassoing the thick ropes like a cowboy as the ferry docked; the cashier in the corner supermarket, interrupting the loud stream of words into his cell phone to look up at us with a soft "How can I help you?"
Kick Back With TV or a Book
And in the evenings, when we were sprawled out on the living room sofa after having walked all over Sydney, we enjoyed watching TV: news, series, comedy, anything that gave us an additional flavour of the Australian culture, and insights into the people and their stories. For example, we watched the miniseries called Hoges about Paul Hogan, the real life Crocodile Dundee. It was really enlightening, and helped me understand just how big a phenomenon Hogan was and still is in Australia, and how much his story helped shape the Australian brand overseas and domestically. Whenever I encounter a new place, I also enjoy to read up on people and places, to more fully understand the culture. A while back I read a lot by novelist Patrick White, and it was such a great experience to visit the country he so vividly described in his novels.
Get a Move On
I already mentioned that we walked a lot, and I mean A LOT. Wow, we got so much exercise, and even though I was very tired in the evenings, it must have done me good, since I’m having this surge in well-being and creativity. We rented a small townhouse by Barangaroo Reserve, in the heart of Sydney, with harbour views from nearly every window. I took this picture a few steps from our front door, and it was wonderful to breathe the ocean air, and watch the sun set, mirrored in the silvery water.
This, to spend time in nature, seems to always recharge my mind, body and soul in every way. Somehow I feel happier, stronger, more alive and more like myself, when I am surrounded by trees, rocks, earth and water. It seems to sharpen my senses, make me more aware of the details in every leaf of grass, flower and every ripple of the water surface.
Capture the Beauty
These beautiful views seem to urge me to capture them, when I was younger on canvas, and nowadays more often using photography. This in turn, I believe, helps me see more details, moods, shadows and shades, that I otherwise might have missed. Learning photography has turned to be a great source of inspiration in my writing. Come to think of it, the first chapter of Beautiful Affliction starts with a photograph!
Indeed, all crafts tend to cross-pollinate each other, which is why, I believe, so many writers are also artists, musicians, designers, gardeners, photographers, bakers etc. To do something crafty, seems to stimulate our creative minds in all directions.
Connect With Other Creative Types
And as we engage in our favourite crafts, we tend to gravitate to, but also attract, other creative people, who can be a great source of inspiration. These days we needn’t create in solitude, instead we can find like-minded friends on Facebook, Twitter, Instagram, in the blogosphere, and of course, IRL: in real life.
Accentuate the Positive
Learning from and about other creative people can also help us cultivate positive paradigms on craft/creativity and lift our spirits when we suffer setbacks or when we feel like the well of our creativity has dried up. I love the uplifting "can-do" spirit that is often shared on Instagram, and the many tips from bloggers, and the never-ending jokes and shenanigans on Twitter. Perhaps especially for me, a Swedish writer living in Asia, social media has proven to be a valuable source of inspiration, connection and a place to find friends, now that I live so far from home.
For the past three years, I've been delighted to find photographer Gail Howarth's calendars for sale at Artsplace in Fremont. I've been a fan of Gail's photographs since I saw a collaborative exhibit of work by Gail and painter Renae Wallace at Artsplace a few years ago.
Then Renae Wallace, a painter from Fremont, Michigan, began asking me if she could paint some of my images. Of course, I was shocked, honored, and so pleased. That eventually turned into our exhibit at NCCA - Artsplace: Of Time, Transition and Reflection. Words cannot even begin to describe how wonderful that experience was. Renae is a gem. A dream came true when Lindsay Isenhart said yes to the project. Everyone at Artsplace was incredibly supportive. Faune Benson Schuitema even helped me pick all the materials to frame and mat my work. The community came out in earnest to support both Renae and me. It was then that I knew I was on my way and felt like a real artist.
My approach is different, as I take more time with setup and take fewer images versus taking too many images and then sorting through for the best one. That was very time-consuming. I also ask for opportunities to photograph things that interest me. In the past, I would miss many opportunities because I was too shy to ask.
In early 2016 I began to feel more and more unsettled in the career I had loved. As the year progressed, I found myself thinking more about photography and writing and less and less about my job. One day when I was training the dental staff at Mel Trotter, I mentioned to Janice Keesman, Director of Clinics, how I was feeling. I told her I was considering leaving my job to pursue my passion. I mentioned that if they ever needed help, I would still like to be considered. That resulted in many discussions, and finally a job offer. I work in the clinic three days a week and spend the rest of my time cultivating my life as an artist.
The project was born soon after I began working in the dental clinic. Patients often said the same phrases to describe what was happening in their lives. They went like this: No one hears me. No one sees me. I am invisible. I thought perhaps I could help. With my camera and writing skills, I could give them a voice, a face, and increase public awareness of homelessness.
Mel Trotter Ministries publishes my pieces on their website. I will be including the blog posts on my own site soon.
Additionally, I would like to create an exhibit for ArtPrize and/or other venues to increase awareness.
But, I would also say, I feel a bit more of a burden of responsibility in caring for those less fortunate. I find it difficult to leave the building between 4:30 and 5:15 pm. That sounds terrible, but I have a tender heart and my mind has a hard time wrapping my head around the extent of the issue of homelessness. That is the time when the homeless women check in for the evening. They wait in line and security goes through their sparse belongings before allowing them entry where they will receive a meal and bed for the night. I often see the same women day after day. There is no age limit. Some are very young and some very old. Some appear to be frightened, angry, resigned, and yet others quite joyful. And I wonder, where are their families, why does no one care enough to open their doors to these people, and what does the future hold for them?
As an artist, I would say it has been a call to action. I am one person. What can I do? I can and will use my words and camera to do whatever I can to help.
I am also starting a small gallery by appointment at my home in Holton.
I met Janet/J.Q. through the writers' group at Fremont Area District Library, and I've enjoyed reading her imaginative stories (and indulging our mutual weakness for ice cream). Terror on Sunshine Boulevard is one of my favorites.
Here's a quick word from J.Q., followed by a Q&A. More details about her and her books can be found at the end of the post.
Readers: Please leave a comment below because a lucky commenter will win a PDF copy of Terror on Sunshine Boulevard. Winner will be drawn on Friday, January 19 at 9 p.m. EST.
I chose this setting because the scene one pictures of a retirement community is exactly what you describe--a place where people who have worked all their lives have a chance to enjoy the good things in life. I love the juxtaposition of the bright fun-in- the-sun feeling with the darkness of murder and mystery. Even the title includes the contrasting views—terror and sunshine.
I base my characters on real people in my life. We meet many interesting folks in our travels. And I might add, there are some real characters in Michigan too! I take bits and pieces from personalities, gestures, accents, speech and put them together in one character. I also create the background story of the character to understand his relationships with other characters and his motivation for doing something like stealing, cheating, even murder. All of that information, such as his favorite color, is not spilled out on the page for the reader. The more I know about the character, the more believable he’ll be.
In all of my stories the setting is very important. I have mysteries set in the retirement community, a church, and a funeral home. Each location is a message to the reader to understand the reason for the drama within the pages of the book and to set the mood for the scenes. Often the twist comes when a character doesn’t fit into the setting. I think the setting is an element in the story, but I’ve never thought of it as a character. I guess we need to discuss the definition of the character.
Yes. I’m concerned watching “civilization” encroaching on the natural habitat by paving over acres of ground that is home to many animals and native plants. Developers tear out huge areas of property to build malls and subdivisions. Roads and highways cut through ancient areas, disturbing the trails and habits of generations of animals. No wonder wildlife raid garbage cans in subdivisions. Their food supply is no longer available because the homes are built in their habitat. The natural environmental balance is disturbed and the animals’ survival is at risk. We must be better stewards of our resources.
I think many folks believe retirees are no longer useful to society. Don’t believe that! They have not been put out to pasture. A vibrant new chapter opens for them. Seniors have skills and talents polished by their life experiences. They are assets to their communities in many ways and guides to warn the young’uns about their mistakes and to show them how they have triumphed. They are storytellers when they share family stories around the dinner table as the kids sit enthralled learning about the funny, crazy uncle or the accomplished pianist in the family. Seniors are eyewitnesses to the world and our country’s history and will not allow anyone to slant the truth for their own purposes.
To tell the truth, I was a writer way before being a teacher or entrepreneur. I actually started writing stories in second grade and I never stopped. I’ve had mentors and supporters along the way encouraging me to keep writing. First was my Grandmother Maw and teachers. Judy Corey and Mary Zuwerink started the North Country Writers many years ago. Esther Jiran (who writes as Joselyn Vaughn) was the force behind starting a writers group at the Fremont Library. I met many folks excited about writing there including you, Nan. Also a critique group of talented authors not only helped me brainstorm story ideas, but also encouraged me to submit my first story to publishers which resulted in signing a contract with a small publisher. Esther, Wendy Sinicki (pen name W.S. Gager), Theresa Grant (Tess Grant), and Nan continue to be important advocates in my writing life.
After we sold our flower business in 1995, I had time to sit down and write. So I did. I asked Rich Wheater, editor of our regional newspaper, if he could use a few stories for the paper. He said, “Go ahead.” I learned a LOT from him and branched out into writing freelance articles for magazines, newspapers, and online magazines. After reading Sue Grafton’s alphabet mysteries and Janet Evanovich’s funny mysteries, I decided to tackle fiction. And I’m glad I did!
I’ve discovered writing the book is the easy part. After publishing comes the difficult job of promoting the book. I spend many hours a week, every week, on Facebook, my blog, and guesting on blogs to get the word out about the books and urging folks to review my books. Reviews get the attention of Amazon so they promote it; the review helps readers decide if it’s a story they would enjoy.
Yes. Daily routines change, but I learned I had to schedule an appointment with J.Q. Rose to sit down every day and write for half an hour or more. No marketing, no emailing. After lunch, I put on my author cap and write no matter if I’m up north or down south.
I take photos—of everything! I love capturing people, places, things, a tricky bee landing on a flower. I also enjoy “creating” quote graphics at canva.com using my photos.
Yes. My mission is to encourage everyone to take time to write or record their life stories. So what if you didn’t discover a medicine to cure disease or help build a ship to fly to the moon? Your life is worthy because it can inspire others by sharing your experiences of overcoming obstacles, making mistakes or celebrating success. Your stories will allow generations of your family to get to know you and be empowered by your life story. I’m writing a memoir now about the first year we moved to Fremont and started our business. What an adventure.
Do you have a story inside you to share? Go ahead and do it.
Thank you for visiting today.
Back of the Book: Rescuing a naked woman lying in a geranium bed or investigating mysterious murders are not the usual calls for first responder Jim Hart. He expects slip and fall accidents or low blood pressure emergencies in his retirement community of Citrus Ridge Senior Community and Golf Resort. The ghastly crime scenes turn the winter time fun into a terrifying season of death and mystery when the authorities cannot track down the predator responsible.
Jim and his wife Gloria could escape the horror and grief by returning to their northern home, but concern for their friends and residents keep them in Florida. With the entire community in a dither over the deaths, the Harts participate in the normal winter activities of golfing, dancing, and pool parties with their friends to distract them from the sadness and loss.
Can Jim and Gloria work with the authorities to discover who or what is killing the seniors on Sunshine Boulevard and stop the increasing body count?
Terror on Sunshine Boulevard is available for purchase at these digital booksellers.
After writing feature articles in magazines, newspapers, and online magazines for over fifteen years, J.Q. Rose entered the world of fiction. Her published mysteries are Deadly Undertaking, Dangerous Sanctuary, and Terror on Sunshine Boulevard, released by Books We Love Publishing. Blogging, photography, Pegs and Jokers board games, and travel are the things that keep her out of trouble. She spends winters in Florida and summers up north camping and hunting toads, frogs, and salamanders with her four grandsons and granddaughter.
Connect with J.Q. Rose online at
J.Q. Rose blog
Books We Love Author Page
Everything I Know I Learned From Hermit Crabs
by Mark L. Winston
I'm a university scientist reaching the end of my career, and recently calculated that I've had 115 co-authors on research papers over a 45-year period. Clearly partnering with students and colleagues was a signature element of my research style, but my first experience collaborating was not auspicious, almost destroying a friendship and derailing my career before it really got started.
I was living and working in Woods Hole, Massachusetts in 1973 after graduating from Boston University with a B.Sc. degree in which my performance was considerably less than stellar. The "Hole," as we called it, was home to the renowned Marine Biology Laboratory (MBL) and the Woods Hole Oceanographic Institution (WHOI), both sources of the short-term research jobs that paid my bills for the next couple of years.
I worked as a research assistant investigating chemical orientation in lobsters, and then landed a summer job for the nearby U.S. Department of Agriculture Gypsy Moth Laboratory, evaluating the use of pheromones to confuse gypsy moths, a serious forest pest. I also had an opportunity to work with a professor in Mexico for two months who was studying wasp social behavior at various latitudes.
I filled the in-between times with a few weeks of warehouse work here and there, and a three-week stint as a substitute teacher for high school biology classes.
Two years of this insecure work in varied underling capacities convinced me that I needed to go back to school if I was to ever rise above being someone else's assistant. I decided to pursue a Masters degree in marine biology, and enrolled in the Boston University Marine Program, based in Woods Hole.
I soon was focusing in on a thesis topic, stimulated by conversations with a postdoctoral fellow at WHOI, Stu, to consider hermit crabs. Stu was loquacious, with an excellent moustache, a productive seaweed-fertilized garden and a young family that was exceedingly generous in inviting me over for meals.
Very excited, I got to work, collecting crabs in the field and spending many long days and late nights in the laboratory recording their behaviours. I forgot just about everything else, including Stu, in my fervor to get some results. Night after night I worked late, observing the crabs and recording their interactions, building up an array of data that would definitively prove or disprove our hypothesis.
by Ruth Daly
A Total Eclipse Pilgrimage
by Sally Cunningham Kane
On average, a total eclipse is visible from any one spot on Earth about once every 375 years. On August 21, a total solar eclipse cut a seventy-mile wide swath, coast-to-coast, stretching from Oregon to South Carolina.
My husband, Mark, wanted to experience this event at a one-hundred-percent-totality site.
The spiritual pilgrimage metaphor emerged when I began researching the eclipse online and looking for lodging. Webster defines "pilgrimage" as a special journey to a sacred site. This eclipse event had taken on epic proportions, engaging millions of people across the entire continent.
Erected round the slowly-filling parking lot, on the grass and under trees, stood colorful shade umbrellas and tents. People, representing many ages and ethnicities, were assembling their lawn chairs, coolers and cold beverages. Realizing we forgot to bring a ground cover or chairs, we snatched our yoga mat and raincoats, some snacks and water, and secured a spot under a shade tree. Mark wasted no time getting horizontal for a nap. The thermometer registered ninety-four degrees, still climbing.
All around the grounds stood cameras. High tech cameras mounted on tripods, lenses covered with dark film. Hand-made cardboard box cameras. People tried out their safety glasses, through which the sun became a dark orange circle against a black background.
Noon. I joined Mark on our shady, makeshift ground cover. We ate a snack and gulped down water. I tested out my safety glasses. The sun was a complete, round, orange ball. I ducked back in the shade. Twelve fifteen. A tiny Pac-Man bite showed in the top right section of the sphere. Someone shouted, "It’s starting!" Over the next half hour, we kept checking. The Pac-Man effect increased and the air began cooling, even though the sun cast shadows. By twelve-forty or so, standing in the sun no longer felt intolerable.
By one p.m., the sun appeared as a slivered, orange crescent. One-fifteen. Like sentries on cue, several hundred people wrapped their eyes in safety glasses, bent their heads back, and stared skyward.
I've been a fan of Colleen M. Story and her blog, Writing and Wellness, since I came across her posts on Twitter a year or so ago.
When I learned that Colleen has a new book coming out, I jumped at the chance to read an advance copy. What writer could resist a book titled Overwhelmed Writer Rescue, with this tagline: "Stop drowning in your to-do list and start living a more joyful creative life!"?
Though the book has "Writer" in the title, the advice in it applies to creative folks of all kinds, and even those who don't consider themselves creative.
Art of any kind takes a ton of focus and mental energy. And most of us are working it in between our day jobs and family responsibilities. But in today’s world, writers must also market themselves, and that’s like adding on a third job. Marketing takes a ton of time and education, and so we’re squeezing every second out of the day blogging and interacting on social media and running giveaways and learning about what else we need to do to promote our work.
In the midst of all those activities, we’re losing time to write. That was hard enough to find in the first place! On top of that, we’re living in a world of constant distraction. There are just so many things vying for our attention, and we often lose the battle and succumb to watching YouTube videos instead of writing (or painting or composing).
from the heart of the woods
Nan Sanders Pokerwinski, a former journalist, writes memoir and personal essays, makes collages and likes to play outside. She lives in West Michigan with her husband, Ray.
Last Wednesday Wisdom