Among the many opportunities I have had recently, I was able to travel to Central Washington University to attend Tim O'Brien's reading and book signing, a NEA Big Read selection, hosted by the Lion Rock Visiting Writers Series, and what an event! For those who don't know, Tim O'Brien is the author of The Things They Carried, a New York Times Book of the Century as well as a Pulitzer Prize Finalist. This classic work of literature has been referenced in almost every creative writing textbook that I have read. In short, it has made an impact on the world of literature.

I read The Things They Carried in high school (thanks to a wonderful ELA teacher) and I was deeply moved. This novel is an experience that cannot be forgotten. I was honored to be able to listen to Tim O'Brien speak on this novel and his own experiences. He read from the novel and shared his thoughts on fiction writing. I wanted to share the most powerful lesson that I took away from this experience: "Don't be afraid to lie" (Tim O'Brien).

Yes, this seems counterintuitive. However, this is an important lesson for those interested in creative writing. O'Brien continued, "You're not limited by what happened." He illustrated this idea with the death of his father. O'Brien shared that he should have been there when his father passed; however, his relationship with his father was often strained with few words. He wished that he had told his father he loved him more. O'Brien explained that he could write this truth, or he could express this emotional truth with fiction. He illustrated himself arriving to the bedside of his father, already passed, and watching as his father sat up and expressed that he knew his son loved him. The emotional truth saturated O'Brien's words. Of course the audience would understand that this isn't possible; however, in this case, fiction better presented the emotional truth than truth itself. O'Brien explained that he was able to discuss the death of his father without emotion, but when he illustrated this fictional scene he couldn't hold back his emotions.

I often think of fiction writing as telling a truth with a lie. I know that it isn't so static, but it is an important lesson. Sometimes the "truth" isn't as impactful as fiction. The Things They Carried demonstrates this eloquently. I would highly recommend this read!

O'Brien, Tim. NEA Big Read. Central Washington University, Ellensburg, Washington. 25 April 2017. Reading.

On Saturday, September 24th, I attended LiTFUSE 2016, a poets' workshop in Tieton, WA. I thought I would write a little about my experience. After all, it was my first workshop outside the academic community. I'm glad to report that it was wonderful--beyond expectation.

In the early morning, I attended a breakout session with Kevin Goodan. We discussed how to find poetry in our daily lives (which I needed because...I have been slacking). One technique that we discussed was keeping a journal or a notebook that encourages poems. I wanted to emphasize the importance of this. I have a notebook that I carry with me everywhere for those random yet recurring moments in which I am inspired to write something down, whether it be a word, an image, or an entire poem. I know how my mind functions well enough to know that I will not remember. Later in the breakout session we did three different exercises to start new poems.

My second breakout session was with Christopher Howell. We discussed Theodore Roethke's biography, growth as a poet and a teacher, and his influence on poetry. It was very informative and I was glad to meet Christopher Howell. I would highly recommend his poetry collection, Gaze. I would also recommend Howell's Dreamless and Possible, another wonderful collection.

After a lunch break, I was able to attend the Faculty Reading in which Joseph Powell, EJ Koh, and Kevin Goodan performed. It was powerful. My third and final breakout session was with Susan Rich. In this session we discussed ekphrastic poetry. Ekphrastic poetry is a genre in which the poet reflects on a piece of visual art (painting, image, sculpture, etc.); however, it is more than a description. The ekphrastic poem should add another dimension to the piece. We learned about the history of these unique poems and focused on three female influences in this genre.

I would have loved to stay, but after ten long and wonderful hours, I decided to venture home before dark. In all, I couldn't have asked for a better first experience. I definitely plan on attending LiTFUSE and other workshops/conferences in the future.

For those interested in attending, here is the LiTFUSE website link: http://www.litfuse.us/. I would highly recommend it!

My writing career has, thus far, been a series of first drafts. I have continually struggled to move beyond the drafting process—an all-too-familiar problem for experienced and unexperienced writers alike. I write, read, revise, realize I’m “inadequate,” and then repeat. I’m determined to break this cycle, to move beyond first drafts. I’m so tired of writing first drafts. I’m ready for second and third drafts. I’m ready to publish.

But, it’s always good to remember the importance of starting somewhere, and recognize that first drafts are just that: first drafts. The best advice I have read on drafting is from “Shitty First Drafts” by Anne Lamott. Here are some words of wisdom from Lamott:

Now, practically even better news than that of short assignments is the idea of shitty first drafts. All good writers write them. This is how they end up with good second drafts and terrific third drafts. People tend to look at successful writers who are getting their books published and maybe even doing well financially and think that they sit down at their desks every morning feeling like a million dollars, feeling great about who they are and how much talent they have and what a great story they have to tell; that they take in a few deep breaths, push back their sleeves, roll their necks a few times to get all the cricks out, and dive in, typing fully formed passages as fast as a court reporter. But this is just the fantasy of the uninitiated. I know some very great writers, writers you love who write beautifully and have made a great deal of money, and not one of them sits down routinely feeling wildly enthusiastic and confident. Not one of them writes elegant first drafts. All right, one of them does, but we do not like her very much. (93)

I highly recommend this read for all writers in all genres.

First drafts aren’t bad. First drafts are necessary. However, dwelling on your first draft so much so that you become effectively stuck is bad. It’s important to move forward, and I haven’t been too good at that. The emotional cycle that a writer goes through—questioning, doubting, criticizing, condemning—is a vicious one. It can be crippling and even destructive.

Therefore, I’m pushing myself beyond first drafts. First step: start a blog. I will admit that this is no easy task. I now have a great appreciation for all those who have started and maintained a blog. I don’t care how many “how-to” sources there are, it’s difficult. Still, those “how-to” sources sure made a difference. Beyond First Drafts will present readers and followers with personal experiences, advice, reading material, updates on publication, and some work that I don’t plan on having published. As the title implies, this is a step forward in my writing career.

Next step: publication. Recently, I submitted a creative piece to a literary journal. I was disappointed to find out that it was not accepted. The rejection email included some encouragement, of course: “Please submit again next year, and keep writing!” I will take that to heart. In fact, I will be submitting soon.

Works Cited

Lamott, Anne. "Shitty First Drafts.” Language Awareness: Readings for College Writers. Ed. Paul Eschholz, Alfred Rosa, and Virginia Clark. 9th ed. Boston: Bedford/St. Martin’s, 2005: 93-96. Print.