Note: In my goal to return to writing this year, I ran across this piece that I wrote about eight years ago, long before I married and long before going to seminary. It appears in the Langdon Review Literary Journal along with a few creative non-fiction pieces. Reading about my "writer self" is necessary to help me to return to a place of joyful writing. It's interesting to see what direction I saw my life heading back then. I took a detour for sure, and headed down another path - pursuing a Master's of Theology. Now I see how these two roads - writing and ministry - converge "in the now." Writing is God's Creative Breath!

Someone
asked me the other day why do I write. What exactly is the motivation behind
the pen meeting paper. I pondered that for some time because I never thought
about it. I just do it. I view writing as an intrinsic trait, inherit
in my soul, in the marrow of my bones, placed there by God, the Divine One himself,
because there is no way that I can take credit for the sense that my writing
sometimes makes.
My writing
is borne out of confusion, frustration and emotional overload. But more than
that, I write out of pure need. I have to unleash the thoughts that wander
through my mind. I have to provide a platform for conversations to take place
for the characters that call me out and insist that I tell “their stories.”
I have no
choice but to write. Writing is the air that I breathe. Writing is the water
that fertilizes my soul. In the most cataclysmic way, writing is earth’s
rotation, the mysteries of the sun and her twin brother the moon. Writing is an
outlet, an avenue for me to vent and say things that I could never find a way
to do otherwise.
Since the
age of six, I’ve known that writing was my destiny. Whether it was fiction,
peppered with real-life events, or expressing thoughts through an essay about
an environmental or world event, writing is my way of communicating to people
that I might never get the opportunity to meet.
I began my
writing journey as a poet. Lines rhymed and not became my focal point for so
long. Then somewhere along the way, I ventured into writing short stories,
mostly based on experiences told to me by my mother. That’s when I knew that
writing had invaded my being and was here to stay. I found myself at a point of
not being able to get enough of the writing. I was driven to the page time and
time again to pore over words. And like a musician composing a new piece, I had
to find the crescendos and the fortissimos in it all.
And I did.
I began to
find that much of who I am rested in the intricacies of the antagonists, the
purposes of the protagonists and the sheltered lives of the supporting
characters.
The more I
wrote, the more I learned about myself for my own life was reflected in the
very fortes and b flats of the cacophony that rang true from the pages of these
characters.
The turning
point in my writing came about when I had this notion in my head that I could
write a full-length piece. I scripted the thoughts and actions of characters as
they came to me and I was determined to allow their lives to be lived one page
at a time.
The
challenge came when I skipped ahead to the ending of the stories and thought
less about the “in-betweens” that occurred. The thing is, I knew what was going
on, but it wasn’t as intense and wasn’t as much of a page turner as some of the
other events that were happening.
I realized
even more that art does mirror real life for there are times when the mundane
sets in and the goings on in our lives just are not page turners. It is during
those times that we take a break and pay attention to the smaller things and
sometimes that’s where the real story takes place.
I have tens
of notebooks filled with finished and unfinished thoughts, words scribbled in
the margins and one-of-a-kind thoughts written upside down and downside up in
the footer section of the page.
Stories of
life in East Texas told through the eyes of a
six year old boy are there. Experiences of my travels to the East Coast and the
ensuing times that led to my living there. Rowdiness of men gathered around a
domino table on a hot Dallas
day and the PG-rated conversation that is the norm, is there.
And then
there are the longer pieces, the 100-plus pages of a story, true in nature,
filled in by “immersion journalist” research of a little girl in the south
central town of Mexia, Texas who is murdered in the 1950s and her death is
relegated to just being from natural causes. Ever so often, I can see the image
of the little girl begging me to return to this piece so that her spirit can
finally be at rest.
I still
don’t know how she picked me to tell her story, but she did, and I suppose the
onus is on me to see it through.
In another
novel-in-progress, three characters sashayed their way into my life in the
early 1990s when I was a student at North
Texas State
University, earning a
degree in Journalism and English Literature. It happened, of all places, as I
sat in an English lit class reading about writers from yesteryear. Fast forward
eight years and those same characters brought in family and friends that have
now meandered in and out my life, dropping tidbits about their experiences.
One of the
characters beckoned me to start researching the Civil Rights era that took
place in Chicago.
I did and out of it emerged 75 pages that I would have never anticipated
writing. I now have historical facts intertwined with historical fiction. And
in it rests a heinous crime.
When I
first began writing, the viewpoint usually was told through the eyes of a male
character. I have often read where established writers tell of the difficulties
of writing from a viewpoint of a gender other than your own. And then there
have been those writers who will tell you that once a character gets in your
head and begins to tell a story, it doesn’t matter the gender. Just tell it.
I have
essays about my father’s death ten years ago and the impact that it has upon me
even today. I have elegies written to him of things that he never got the
opportunity to learn about me, things every dad should know about his daughter
but doesn’t because long before death separated us, absence was already there.
Categorizing
my style of writing is impossible as it runs the gamut from humor to creative
non-fiction to intense drama. Not every story has a death in it, but there is
always an underlying hint of an ending or demise of something of great
significance to one of my characters. Somewhere that is a true and real
reflection of me, but I have not yet figured it out.
Several of
my most liked pieces have appeared in literary journals in Texas and a few have received notable
commendations in a national scope. Two years ago I co-edited an anthology of
works by black writers from around the country.
How one gets from writing to then reviewing and editing other people’s
writing is a story in itself. I’ve had
the opportunity to be selected to writers’ communities on both coasts, being
mentored by famed writers Jewell Parker Rhodes, Patricia Elam and Colson Whitehead.
People
often ask if I am a writer by trade or by hobby. I always answer neither. I am
a writer by birth. It spills over into what I do in my career. Writing is what
led me to Washington, DC to accept a position with the Smithsonian
Institution. Writing is what afforded me national recognition in winning second
place in the Copperfield Review Historical Fiction competition. Writing is what
allowed me to have a following of sorts, that is, a group of other writers and
avid readers who enjoy the words that I manage to put together through the
guiding hand of the Creator. Writing is the impetus what will hopefully spur me
on toward the discipline to get an MFA.