Andi’s book is launching on November 14, and I’M SO EXCITED!!! As a member of her online writing community, I have benefited from Andi’s wisdom through my inbox every week, so it’s thrilling to see her letters compiled in a volume that I can share with the writers in my life. I interviewed Andi about the Love Letters to Writers, and I hope you enjoy it!
Oh, I’m a to-do list person, too. I like to feel like I’ve gotten a lot done, but I’ve learned that as a writer that product cannot be the end-all-be-all. Process is crucial, and part of the process for an artist is that we have to notice and bear witness to what happens around us. For writers, this means that sometimes our work is to take note rather than to shape things. So sometimes we do a lot of writing that no one else will ever see. We have to pay attention to our senses, to our bodies, and to our emotions. We have to slow down to try to see the Why? behind things . . . because it’s in that why that the life of a story lives.
2. You often write in your letters about the physical spaces you create to support the habits of your writing life. What common elements do you find necessary for such spaces?
For me, the space needs to be quiet. It needs to be filled with things I love but that don’t require my attention – pieces of art, books I know, objects that people I love have given me. I really need to love the wall color (My office is painted in “Macaroni and Cheese.”). I also need my writing space to be comfortable in terms of a chair and desk.
But that’s what I need. Every writer needs different things. Some people need to work in coffee shops for the gentle distraction of other people and their chatter, and others love to have music going all the time. Some people prefer a pristine, streamlined environment, and others find that the dining room table is ideal for them.
The key is for each writer to determine what works best for them and then to create the space they need. I recommend a dedicated space for writing – even if it’s that the dining room table becomes writing space after dinner – because when we return to the same space again and again to write, it creates a sort of mental memory of what we do there. That can be a powerful tool for starting that day’s writing.
3. You are so gentle – in your letters, in your work, and in person. Have you found this gentleness to be useful in the work you do? Why or why not?
What a kind thing to say, Suzanne. Thank you. In the work I do with writers, yeah, most of the time I think gentleness is key. We’ve all been scolded about our writing selves – either by teachers or blogs or by those voices that live in our own minds. Most of us need to be spoken to with gentle directness, I think.
On occasion, my clients could probably use a more assertive coach who demands more of them, but then, the clients who work with me know who I am, so perhaps they don’t expect that.
In my writing life, well, I often wish I wasn’t so gentle. When I’m not working with writers, I research and write about the history and legacy of slavery, and I’m learning to make my voice more steely because American needs to hear the truth about this part of our American history. I’m still gentle on the inside, though, so sometimes, it’s quite challenging to continue to speak strong on something that feels so obviously needed to me.
4. Great writers are often great readers. What is the best book you’ve read this year, and what did it teach you?
This is always a tough question, but I’ll just go with the first book that came to mind: An Exact Replica of a Figment of My Imagination by Elizabeth McCracken. I read this book just after I miscarried this year because it’s about McCracken’s own experience of losing her son before he was even born. It taught me to write raw about the pain I’ve lived, even if I’m not ready to share that rawness yet, and it taught me that you can recall the details and emotions of an experience even after it happens and even if you don’t journal the whole time. Sometimes, I feel like since I don’t journal my days I’m missing out on books I could write later, but McCracken’s memoir reminded me that those experiences still live in me – I just have to work to find them again.
5. What are your favorite moments when working with writers?
Oh, many. My all-time favorite is when a writer decides to take herself seriously as a writer, when she decides to commit the time, when she decides to do the work because she WANTS to do it . . . even if there’s no recognition or paycheck coming. I love those moments because they are the moments I know that a writer is in and will keep going no matter what. They aren’t that common, but when they come, I’m exhilarated.
I also love the moments when writers find that their own egos are not the best judges of their work, when they can put aside their intentions and what they thought a work was and hear the perspective of someone – a friend, a reader, an editor – who does not find the work flawless. Those moments are the ones that make us better writers, and while they are painful, they are crucial.
I also love launch days for writers I know. They aren’t always – or often – spectacular successes, but the joy of putting something out into the world, something built with hard effort and love, well, that’s a glorious thing.
Love Letters to Writers is available for pre-order now. Treat yourself to this gem of a book.
Andi Cumbo-Floyd is a writer, editor, and farmer, who lives at the edge of the Blue Ridge Mountains with her husband, four dogs, four cats, six goats, three rabbits, and thirty-six chickens. She writes regularly at andilit.com
M. Suzanne Terry 