In teaching courses online, I’ve been asked about the options of creating an outside opportunity for connecting during the course or even after the course. Some suggestions have included setting up a social media group, but not everyone is on social media or wants to interact over social media. Never mind that, depending on the metrics, posts may be visible or not in one feed or another. Still, after spending several weeks of (often intense) writing and critique, the desire to stay connected remains.
When writers are local, I never hesitate to spotlight Red Oak Writing as one of my favorite ways to connect with others. There’s a strong community of writers who move in and out of Red Oak’s studio, and Kim Suhr, the director, offers an ongoing rotation of writing & critique groups (online or in-person) plus plenty of Saturday workshops for anyone looking to hone their craft.
But I have been playing with the idea of setting up a different kind of group, one that functions between courses and critiques in a casual and generative kind of way, one that aims to satisfy parts of Forest Avenue Press’ Main Street Writers Movement pledge:
to encourage my neighbor writers in creative art.
to foster…
to support…
to introduce new friends to my core community….
I know how difficult it can be to break away from the daily routine. If there’s a space, an invitation, and a gentle push from another writer facing similar challenges, I’m more likely to show up, put the kettle on, and set pen to paper. I’m more likely to encourage the writer across the table from me, and we–together– will create more art.
But here’s the thing: does this need to be in-person only? Is there even any interest in arranging another opportunity outside of the ones already found in your local area and mine? This is where you come in. If you’re itching to connect with other writers but are wondering how, if you’re local and just want space and a warm cup of tea at the ready, if you are willing…fill out a few questions via the survey below. Let’s talk about your next move…our next move.
Here’s the link >> Writers Meet-Up Survey.
(The survey is anonymous and will be open until February 17, 2018.)
If you’re not local to the Milwaukee area but are still interested in the possibilities, go ahead and click the link and take the survey. There’s a space for that kind of conversation as well.
The gamble. In one way or another, you are always playing the odds. As soon as the traffic light turns yellow, you quickly gauge your distance and press on. If you’re a writer, you send a story out a hundred times with the conviction that soon one acceptance will override all those rejections. Or, if you’re me in the late eighties and trying to procure the attentions of a handsome young man, you debate whether or not to pick up the phone by flipping a quarter. Heads you call, tails you don’t. And even while you lose with each flip, you don’t give up, the phone an object of incessant mockery. So you push at chance: 3 out of 5, 5 out of 7, 10 out of 15. Ignoring the loss, you call anyway, the flick of your thumb just an exercise in show.
Michael Shou-Yung Shum (MSS): One of my goals in writing the novel was to enchant the experience of gambling, a topic that is often disenchanted when it comes to fiction (think gritty tales of realism that describe down on their luck protagonists getting more and more in the hole…). I wanted to do the opposite with my novel, which is to invest aspects of real-life experience with, as you say, curiosity and mystery—to “enchant” those experiences, in other words. So yes, I did pull from real-life people I’ve come across—for example, the Countess is a very stylized and enchanted version of a “regular” who used to come to the casino where I worked every day, an old woman who sat at the poker table coughing up a lung and glaring at the other players. Her name was Barbara, by the way, so the character of Barbara was a kind of reimagining of this player when she was young, in the 1980s.
