Seeing Darkness in a Whole New Light

By Tina Games

My transformational work with creative mothers and spiritual artists came out of my own experience of connecting with the moon during a really dark period in my life. Shortly after the birth of my first child, and after making some fairly significant life changes at the same time, I fell into depression – a place that felt so foreign to me, a place where I felt like I had fallen into a black hole with no way out.

It was during this time, a period that spanned over two years, that I had disconnected from everything that made me happy. Because my son suffered from chronic illnesses related to serious colds and severe ear infections, I made a very difficult choice to give up a successful career in order to care for my son full-time. I hadn’t realized until this experience how much of my identity was tied into my chosen path of work. Without it, I felt very lost and very unhappy.

No one understood the pain I felt – except my mother. She was the one person I could speak to without censoring myself – and she became my confidante from that point on.

I also found myself falling back on a great passion of mine – journal writing. And as a mom of a baby who did not have a normal sleep schedule, I found myself exhausted and emotional much of the time. So night after night, after I’d get my son settled and after my husband went to bed, I’d grab my journal and retreat to my favorite chair – beside a big bay window where I caught a glimpse of the moon. It was the moon that taught me the meaning of transition. I’d watch this beautiful lunar goddess, night after night, move in and out of her various phases. And before long, I began to connect her phases with my own emotional tides.

I noticed that the moon always began in darkness and gradually, she’d move into full light – and cycle back around again. And I noticed the contrast between dark and light – the darkness of the night sky against the beautiful full moonlight. I started connecting to this – as if I was being divinely guided through my own transitions of dark and light. I began to notice the ebbs and flows of my emotions. There were good days and bad days.

So when I came to the point of writing my book, Journaling by the Moonlight: A Mother’s Path to Self-Discovery, I wanted creative mothers to realize that every human transition begins in darkness and gradually moves into light, where we get a glimpse of what is possible. And then we retreat, to ponder the many ways we can manifest these possibilities into reality. This requires deep work, where we step into our own truth and into our own power – and where we can emerge in the most authentic way possible.

This is what I call the Blue Moon phase – when we finally realize that we are here on this planet to be WHO we are, to put our personal thumbprint on the world in the most truthful, most authentic, most unique way possible – being divinely guided on our own purposeful path.

As creative individuals, we have the power to create great change in the world through our artistic endeavors. And this change has the most impact when we begin with ourselves – looking in the mirror and honoring the person who is staring back.

  • WHO is this person? Do you really know her at her core? If you were to remove every label that she wears – mother, wife, partner, community leader, business owner, loyal friend, etc. – who is she?
  • Pretend for a moment – that each of these labels is a blanket. Slowly remove each blanket, acknowledging the label it represents and set it aside. Continue doing this until you have no more labels except – SELF.
  • Who is SELF? Take a moment to describe SELF from the inside out. How do you feel when you’re not bombarded by what the world thinks you should be? What are your passions? What are your dreams? What makes you come alive? How does this person – from the inside out – want to show up in the world?

These are great questions to ponder in your journal, allowing yourself to answer them – truthfully and completely.

When we start chipping away at the exterior labels, what do we look like on the inside? What is our “diamond in the rough?”

Once we discover this, we’ve connected with our authentic self. And it’s from this place where purposeful, powerful, and magical masterpieces are created.

Tina M. Games is the author of Journaling by the Moonlight: A Mother’s Path to Self-Discovery. As a certified creativity and life purpose coach, and a master retreat leader and certified journal writing facilitator, she is the “Moonlight Muse” for women who want to tap into the “full moon within” and claim their authentic self, both personally and professionally.

Through her signature coaching programs, based on the phases of the moon, Tina gently guides women from darkness into light as they create an authentic vision filled with purpose, passion, and creative expression. She lives on Cape Cod in Massachusetts with her husband and their two teenagers.

For more information about Tina’s work, please visit her website: www.TheMoonlightMuse.com

Whose Secret Is It? What I Wish I Hadn’t Shared In My Memoir

By Linda C. Wisniewski

When my memoir was published, I didn’t expect everyone in my family to like it. I had written about growing up with unhappy parents, in a depressed industrial  town, in a punitive church school, and as part of a Polish working-class community looked down upon by many of our neighbors. That was a lot for me to push back against as I struggled to find my best life, and I knew some people might not share my perspective. I steeled myself for criticism.

But my cousin Angela’s letter came as a complete surprise.

“Where did you get this information about my mother? And what does this have to with your childhood?” she wrote.

I didn’t know I had exposed a family secret until I read those words. Angela’s Aunt Lucille was my mother, a woman who believed the Church’s promise that suffering would lead to everlasting life. I learned to suffer from her, and my memoir is about my lifelong struggle to create my own happiness. To show her self-centered pain, I used a story she told me when I was small:

“My mother said that soon after they returned [from their honeymoon], Dad walked in the door with a strange look on his face. ‘My sister tried to kill herself,’ he blurted. ‘They don’t know if she’ll make it.’ She had planned to run away with her married lover, but the man backed out at the last minute. In despair, Dad’s sister took an overdose of pills. For weeks, her hold on life was tenuous. When she finally pulled through, the whole extended family was still reeling. It didn’t seem right to be going off to Hawaii.” (excerpt from Off Kilter, Pearlsong Press)

I didn’t use the name of my dad’s sister, who was Angela’s mother. But to my surprise and horror, her letter seemed to say she never knew her mother had been unfaithful to her dad. She was now in her seventies and I in my sixties. We weren’t close but I still felt terrible.

The letter was otherwise kind and supportive. “I wish I had known what you were going through as a child,” she wrote. “I would have helped you cope.”

I felt bad for hurting her, but I also remembered Angela criticizing her own daughter-in-law for a suicide attempt. I hoped she’d now be more supportive, knowing what she knew.

I wrote back, apologizing for hurting her. I explained my purpose in including the story in my memoir was to illustrate my mother’s bitterness. I wrote her twice but never got a response. At the next family gathering, she didn’t come near me, and didn’t make eye contact. It could have been worse. To my great relief, her husband gave me a big hug.

Another cousin was pretty harsh when I told her what happened. “It wasn’t your secret to tell,” she wrote in an email.

I didn’t know it was a secret, and never suspected it could still hurt anyone. It happened in the 1930s and all the people had passed on long ago. Angela is in her eighties now, and I don’t know if or when I’ll ever see her again. We were never close. My mother told me she was a spoiled child. But I wonder now if that’s true, along with the other stories she told me.

If I had it to do over, I’d leave that story out. Though I didn’t use my aunt’s name, the family who read my book knew who it was. My dad had only one sister. My hope is that they’ll think twice about judging others after reading it.

No matter how careful we are to avoid hurting people with our writing, sometimes we make mistakes. Just like we do when we interact with people off the page. When we do, we can ask forgiveness. And we can also forgive ourselves. For writers, just like everyone else, are human. And that has to be okay.

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This piece first appeared on Brevity’s Nonfiction Blog on June 3, 2019 and is reprinted with permission from Dinty W. Moore, Brevity’s editor.
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Linda C. Wisniewski lives in Bucks County, PA, where she teaches memoir writing and volunteers as a docent at the historic home of author Pearl S. Buck. Her memoir, Off Kilter: A Woman’s Journey to Peace With Scoliosis, Her Mother and Her Polish Heritage has been published by Pearlsong Press.

Making the Cut

by B. Lynn Goodwin

Ever wondered why your writing didn’t make the cut in a writing contest? Although you have no control over the quality of other people’s submissions, you can make yours as strong, professional, and accessible as possible.

Here are some criteria that help me pick finalists for Writer Advice’s Flash Contests. Though there is no formula, these clues may help.

• Tell a story that will engage readers because of its honesty, originality, and specifics.
• Leave room for me to care and to empathize.
• Avoid self-pity.
• Tell an original story.
• Or turn a familiar story into an original one.
• Make every word count.
• Use memorable, accessible language.
• Be specific, aka show – don’t tell.
• Expand the meaning beyond your own life if you can.
• Say something the reader has not heard before.

I’ve included some very short examples below and explained why I liked them. Usually flash prose, whether fiction or memoir, will be outstanding because of its overall effect, but that effect comes from a series of moments that work. See why these worked for me.

Short Excerpts I Loved:

“I have countless items of his I cannot discard – out of both love and respect: mugs, framed degrees, yearbooks, ties – even his old employee I.D. I’ve kept this collection close, as if throwing it away would somehow erase his existence.” —AW
So like me, though my collection is filled with driver’s licenses, dishes, candlesticks, a 1940s office stapler, and handwritten cards. Loved the specifics and hers triggered thoughts of my own.

“My parents spoke their own language: a series of snorts, harrumphs and silences that communicated a deep-seated hatred that none of us children could translate.” —DD
What a way to show an entire family dynamic in one sentence.

“Always in a suit, Mr. Knott has pin straight hair and an Adam’s apple that bobbles when he talks.” —JV
Love the description – especially “bobbles.”

“Some of the letters melt away. Others fly into the air curling upward toward the blackboard.” —VM
Shows a seizure described by the person experiencing it while she’s in front of a class. Vivid!

“…tossing out worries like pieces of banged up, mismatched luggage.” —SV
Love the spirit here.

“I’ve just finished a master’s degree. I don’t have enough money to move back out of Boston.” —CO
Common problem for so many recent graduates and I already care about the narrator and want to help him.

“Her husband was a lawyer in a white-shoe practice on Charleston’s tony Broad Street, she, a steel magnolia of the first magnitude and one of the highest-ranking people in our English Department. ‘That man must think there are no women professors.’” —PC
I like her cause and the way this lifts the memoir from a personal story to one with larger overtones.

“How many times did he pick the scab that was his memory?” —SC
How many times have I done the same thing? The emotional truth is so strong.

If any of this helps, please comment, telling readers what worked and why. Thanks!

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Lynn Goodwin owns Writer Advice, http://www.writeradvice.com. Her recent memoir is Never Too Late: From Wannabe to Wife at 62. She’s also written You Want Me to Do WHAT? Journaling for Caregivers and Talent, which was short-listed for a Literary Lightbox Award, won a bronze medal in the Moonbeam Children’s Book Awards and was a finalist for a Sarton Women’s Book Award. Goodwin’s work has appeared in Voices of Caregivers, Hip Mama, Dramatics Magazine, Inspire Me Today, The Sun, Good Housekeeping.com, Purple Clover.com and many other places. She is a reviewer and teacher at Story Circle Network, and she is an editor, writer and manuscript coach at Writer Advice.

Six Steps to Publishing in Magazines

In one of SCN’s online roundtable chat groups, Kathryn Haueisen mentioned that she had just submitted a magazine piece. Another group member, Doris Clark, asked her to say more about the process. Kathryn responded with six helpful suggestions that made everybody sit up and take notice. Here’s what she wrote.

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Six Steps to Publishing in Magazines (Print or on-line)

My first career was public relations. One journalism professor required us to submit an article a week with proof we had via a receipt from the post office. My first couple of jobs were doing PR for a small college and a large university. Writing feature articles was part of my job.
I’ve taught a six-week course about this and numerous workshops as well. Things have changed significantly since I started with an electric typewriter, carbon paper, white out and postage stamps. However, the basic approach and ethics are still in place. Here are the basics.

1) Get a copy of Writer’s Market (free at libraries, for sale at any decent-sized, general bookstore, or Amazon. If you buy the book you qualify for an on-line subscription that I find very helpful. You can renew that annually without shelling out the money for a new book every year. I get a new one about every three years.

2) Go to a decent size newspaper/magazine stand, or again your local friendly library, and browse. Which magazines attract your attention?  Sit down and flip through them to see what sorts of articles they publish and approximately what length. Study the front pages that list the editorial staff. See if any of the article by-lines match up with people on that list. If not, the article was probably by a freelance author. If it does, see if you can contact that editor by name, by e-mail or snail mail and send a SHORT note saying what you liked about the article. If you can’t find an e-mail address for a specific editor, send a note using their published e-mail address and put that person’s name in the subject line. The address the note to that person. Editors like to hear good things about their efforts as much as the rest of us.  DO NOT PHONE. It will just annoy an editor to get a cold call from an unknown writer. Editors are often overworked and underpaid and don’t want to take time to talk freelancers. Put it in a short e-mail. After you’ve sold an editor a few articles and established a connection, or the editor invites you to do so, a phone call would be alright.

3) Do your homework. Pretty much every modern magazine has an on-line version. Read through the sorts of articles they publish, which are often straight from their print editions. If you look up http://www.magazine.com [not a real URL] and add “ /submission guidelines” or “/writers guidelines” after the URL address, you will likely be led to where they tell you what they want and how they want to receive it. When you decide to send a query to one of them, make reference to an article or two you read. Again, editors like knowing someone read what they published.

4) Follow directions. If they say they don’t buy fiction or poetry, do not send them a short story or poem – no matter how many awards it’s won or how many people tell you that you should publish it. If they say they only want queries, do not send them the entire manuscript. And vice-versa, though – most editors do want queries. A few may want the full manuscript, especially if it is a fiction piece.  Most editors prefer submissions via e-mail; some no longer even accept USPS ones. I learned this next etiquette rule from an executive at Writer’s Digest:  DO NOT SEND AN ATTACHMENT until they ask you to submit a manuscript or previously published clips via e-mail. Like all of us in the cyber community, they worry about virus attacks. Keep the query short and to the point. A good query letter should fit in an e-mail.  If you send something in via USPS, make sure you ALWAYS include a stamped, self-addressed envelope or you won’t hear from them again. Also make sure your name and contact information are on the manuscript. Yes, people do send in items without this information on the manuscript.

5) If you have previously published articles and can provide links to them, include the links. You may have published samples of your work, but like many of mine, they were published before everything was also on line. Mention a couple of them and where they were published. I made a pdf of some of mine and put them on my website on a separate page. I give editors a link to that page. If you don’t have any published samples of your writing, not to worry. Everyone had to get published for the first time. Don’t mention that you haven’t yet been published; rather focus on your qualifications for writing the article and why you think it a good fit for The Magazine readers.

6) Write the most compelling query you can generate. There are oodles of articles on-line and in the front section of Writer’s Market to teach you how. Try to send it to a person, but sometimes that is challenging – especially if the magazine insists you contact them only via their on-line submission form. Hit the “send” button or release it into the care of the USPS. Then pray, or do yoga, or drink something and move onto the next item on your “to do” list for the week. It’s OK to nudge an editor if you haven’t heard after a month to six weeks. I recently did that and landed a contract to write the article I’d pitched six weeks earlier. Editors get overwhelmed with the volume of queries and unsolicited articles they receive on a daily basis. But only check-up once per editor per query. If you don’t hear after an inquiry about the fate of your query, move on to another publication. You may get an answer along the line: “Sorry, it’s not for us.” It’s not about you or the quality of your work. It’s about the competition, which is very intense these days now that anyone with a keyboard and Wi-Fi access claims to be an author. Send a sincere thank you note for taking time to review your idea. The fact they A) read it and B) responded, means you’re on to something. Try another topic for that publication or your idea with another publication.

I haven’t kept track, but I suspect my accepted to rejected query ratio runs about 1 out of every 10. Pitching freelance articles isn’t for the impatient or easily discouraged. However, for me, the thrill of a “I’d like to see it,” or a contract to sell it, make the effort worth it. I also enjoy depositing the resulting checks.

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Kathryn Haueisen writes, queries, and ponders her next freelance idea from Houston, TX where she lives with her husband and spoiled double-rescue poodle. She writes a weekly blog about people and projects making a useful contribution to society at www.HowWiseThen.com

 

The Space Between Stories


Reprinted from Linda Wisniewski’s blog, February 24, 2018

I’ve heard that writers write to make sense of the world. That’s certainly been true for me. And yet, the world seems to have become even less understandable over my lifetime. Aren’t we supposed to become wiser with age? What is the reason for the interpersonal division in our country? We seem to be on ever more opposing wavelengths. We can’t even talk to people we disagree with without insulting them, in person or online, so we mostly just give up.

Author and speaker Charles Eisenstein says our world looks so crazy because we are in “the space between stories.” The old story said our society was sound, our ecology was fine and our economy was just. But that old story is falling apart, and many of us are afraid. We want to go back , when life was safe, stable. As progressive as we like to think we are, a friend and I recently shared a longing for the “old days” when folks aspired to work in a shoe store or deliver milk on a truck. It feels as if the world is falling apart around us. We feel alienated, unsure of our place. We are in what Eisenstein calls “a period of true unknowing.”

We are between stories.

Who knows what the next story will be? I am hoping for one called “We Are All In This Together.”

Many of us have rejected the old duality of this or that, one or the other, Republican or Democrat, us or them, liberal or conservative, male or female, East or West, cat people or dog people….okay, just kidding. But really, haven’t you noticed the breakdown of the old story? The old roles bind us no more. Women are now empowered in fiction and movies, men in the programs we watch are stay at home dads with real feelings, and even gender can be fluid. Voters give up, feeling alienated from our leaders. Young people are calling BS. We’re all restless, looking for a new story to explain our place in the world.

“We are the one’s we’ve been waiting for,” said the poet June Jordan, the author Alice Walker, and the lyrics of a song by Sweet Honey in the Rock.

Looking for signs of the new story gives me comfort. Maybe this is the time I was meant to be alive. What about you? Have you ever felt “in the space between stories?” Why not take some time to write about it, right now?


Linda Wisniewski shares an empty nest with her retired scientist husband in Bucks County, where she writes for two local newspapers. Her work has been published in the Philadelphia Inquirer, The Sun, Massage, gravel, the Christian Science Monitor, The Quilter and many other places both print and online. Linda volunteers as a docent at the Pearl Buck Historic House and teaches memoir workshops at their Writing Center. Her memoir, Off Kilter, was published in 2008 by Pearlsong Press. For more information, see her website.

A Few Reasons Why Writing Just 20 Minutes a Day is Good For You

  1. You will have a chronicle of your daily life, if that’s what you choose to write on. Just a sliver of your life, to be sure, but one that later you will enjoy looking back on.
  2. You will find after a few days that all that difficulty getting words on the page is getting easier, and after a week or so, you’ll be writing as if that sludgy feeling that once plagued you never even existed. In other words, your writing will have greater fluidity.
  3. You will find yourself less perfectionistic about your writing, which is a key to creativity. You have plenty of time to go back and “fix” anything that’s not as you like it, but when you only have 20 minutes to write, you are outrunning that nasty critic that often holds you hostage with ugly words like, “What makes you think YOU have anything to say?” The ability to hold that critic at bay will increase with practice. That’s a good thing.
  4. You will find yourself more observant about the world around you. When you know that you have to come up with something to write every day, then you actually start looking around for something to write about. I often take photos in anticipation of my 20 minutes of writing so I have something to refer to when it’s time.
  5. You will have the chance to write about things that are important to you but that you never actually say to anyone. For example, I wrote about my wedding ring for 20 minutes one day and my grandmother’s rocking chair in another 20-minute session. I was happy to have a place to articulate how I feel about these things, just for my own enjoyment and satisfaction.
  6. You will feel a sense of relief that you’re actually writing if this is something that’s important to you to do. No more beating yourself up with thoughts such as, “I want to write, but just can’t find the time.” When you commit to just 20 minutes a day, you can actually find the time even if it’s in two 10 minute sessions or even four 5 minute sessions.
  7. You will find yourself breathing deeper, feeling more relaxed and having a sense of accomplishment just from taking the time to slow down and put words down on the page. This can also be thought of as meditation time when you refocus your priorities and simply allow yourself to pour out your thoughts on the page. This alone would be worth the effort since there is a multitude of research showing the benefits of slowing down and doing something that is calming in your day.
  8. You will feel that your life has more balance. By taking that 20 minutes, you are whittling a bit of time out of your day that is solely for you. This goes hand in hand with the meditative quality of this practice. You will soon find that you feel better about life in general and your life in particular.

This list is a reminder to you (and myself) why writing 20 minutes a day is much bigger than simply putting words on a page. It is about claiming a bit of your day just for yourself and thinking of this as a meditation practice as much as a writing process. Then your critic really has nowhere to go with complaints. After all, you can simply say, “This is just me noticing more closely what’s happening in the world around me and inside my head. No room for a critic here. I am just musing.”


Visit Len Leatherwood’s blog.

Checking Our Biases

The name of this blog, “Telling Herstories,” reflects the mission of the organization it represents, Story Circle Network, to nature and support women’s voices and stories. I thought of that mission recently as I followed an email discussion among a group of women writers.

The thread involved a mystery writer who had taken over her father’s famous series after his death. She picked up the thread of his characters and stories, but wrote the new books under her own name and with her own twist. Her tales shifted the point of view of the series by taking a woman who had been a minor–and somewhat cliched character, as one commenter pointed out–and had given this character a starring role. Adding a woman’s voice and perspective changed the voice, tone, and focus of the stories.

Some of the commentators on the list didn’t like those changes. Others chimed in to say they knew mystery writers who had commented negatively about the new additions to the series and thus, they didn’t intend to read them. Still others pointed out negative reviews on Amazon. Several said they had sampled the daughter’s books and been disappointed about the amount of Native American culture in the stories, versus in the father’s books.

As I followed the discussion, I grew uncomfortable. Not simply because the author in question is a friend, though she is; because I felt like a group of women who are writing “herstories” were not reading herstories. By which I mean, I felt as if they were judging this woman’s work against her father’s, instead of reading it with fresh eyes for what this author, an award-winning writer herself, brought to the series.

I thought for a while–I am a slow thinker! And then I wrote a careful comment giving some background on the daughter’s choice to take on her dad’s series, and how hard it had been for her to make that decision given her particular situation. Then I got to the point that I felt was really important:

“I think part of why some people don’t like the books is simply because they are written from a woman’s point of view, not a man’s. We’re used to the way men write, and we sometimes have a hard time shifting to women’s more intimate, “quieter” way of telling stories. Not that these particular stories are quiet; they open with a bang, and move quickly. But they’re different from the father’s.

“Seems to me that [the daughter’s] portrayal of Native American culture and place is just as strong, but it’s the domestic side of that culture, which is subtler, less flashy–more human in some ways, and more focused on family and healing relationships the on the public ceremonies.

“I think the ‘color and flavor’ that [one commenter] mentions missing is just that [the father] was writing about the male side of that culture, and [the daughter] is writing about the more female side of that culture. It’s interesting to think about how habituated we get to one way of telling a story and how hard it may be to change our perspective.”

One of the things I value about this group is that its members think, and consider. Their responses reflected that, including this one:

“The daughter brings new perspective and more dimensionality to the characters. Men are from action-adventure; women are from motivation and psychology, to paraphrase a famous book title, Men are from Mars, Women are from Venus.” That one gave me a chuckle.

And this one from another: “I agree that we do get habituated to how an author tells his or her story, especially if a reader has followed a series. I think that is definitely the case for me with this particular series.”

Another commenter added this thoughtful twist: “You could be right about it being the change in perspective on Native American culture being what I’m picking up. . . . I’ve decided I’m going to keep reading her, not only because I found her books enjoyable, but because as someone pointed out, her perspective shift, while feeling less “authentic” to me (and isn’t that embarrassing–that I, who have known exactly one Southwest Native American, would set myself up as an authority on whether or not a book based in the culture sounds authentic), might be equally valid.”

Another commenter checked the negative reviews on Amazon and quoted this one that inadvertently makes the point about our gender bias relating to how a story “should be” told: “I couldn’t get used to seeing the story unfold through [the new female lead’s] eyes versus that of the main male police characters. But of course [the daughter] is a woman so I will just have to accept it.” Yup. You will….

We ARE women, and we do write from our own perspective–that’s a gift, not a fault. We’re not simply trying imitate men’s ways of writing and telling stories; we’re telling our own, in our own ways. It hurts my heart when we fall into the trap of criticizing another woman for finding her own voice and her own perspective. Seems to me that if we’re going to write herstories, then we also want to be informed readers of herstories, to check our biases, and be supportive of other women’s work.

Perhaps you’ve guessed who the discussion was about, but in case you haven’t and you are curious, we were talking about Anne Hillerman’s books, Spider Woman’s Daughter, Rock With Wings, Song of the Lion, and Cave of Bones. They follow up on her father, Tony’s, famous Chee and Leaphorn series, set mostly on the Navajo Reservation of northern Arizona and northwestern New Mexico. Anne’s latest, Cave of Bones, debuted at Number 7 on the New York Times bestseller list, so I’d say she’s onto her own successful series!


Susan J. Tweit • plant biologist and award-winning author, speaker, teacher
Read her work at http://susanjtweit.com
Winner of the Colorado Book Award, the EDDIE, and the Colorado Author’s League Award (five times!)
Fellow, Women’s International Study Center, Santa Fe
Writing Resident, Carpenter Ranch, and Mesa Refuge
TEDx speaker, and past chair of the National Writing Panel for YoungArts

“What we do best comes not from our heads but our hearts, from an ineffable impulse that resists logic and definitions and calculation: love. Love is what connects us to the rest of the living world, the divine urging from within that guides our best steps in the dance of life.” –Susan J. Tweit, from The San Luis Valley