The nature of creation is that it wants to be witnessed. Ray Bradbury called the universe “a big theatre,” remarking how theatre needs an audience.

We are the audience for what surrounds us. It is our human task to appreciate creation – and this includes the things we ourselves create!

I love the exuberance of beholding fresh creations. (Gerard Manley Hopkins does too!)

I’m celebrating some fresh stories that blend real events with fantasy . . . they are what-if tales.

Dappled Things will feature “Girl U Want” in their forthcoming (Spring 2024) issue. It all starts with a Craigslist Ad, with a woman in a suburban driveway inspecting an antique desk, before she is lifted into another realm.

I love Dappled Things journal so much! They explore faith through such evocative lenses. (Incidentally, they take their name from a line in “Pied Beauty,” by Gerard Manley Hopkins.)

In May, the fantasy podcast Imagitopia will air my story “Blood Feathers” . . .

. . . in which a suburban mom finds eery connections to a life she no longer remembers.

Links forthcoming.

Happy Spring Creations!

Wildwrite* 15 minutes

(typed from handwriting)

It’s hard, abandoning my agenda for the page. Not knowing how it will all shake down.

I notice—whew! Thoughts of to-dos bursting in my thoughts like fireballs. How does one ignore a fireball?

I notice how simple this practice is, how good for my soul. It feels completely new and I realize I’ve been resisting actually doing it for some time now. Much easier to save for the class, do when I absolutely have to—

My train of thought goes off the rails** oh so easily. And when it is finally adjusted upright, all the kinks in the train car links worked out, this toy train balks at the crossings where it has to switch tracks—roll into the hands of another force.

Dream Kid. Big, giddy, dreamy-eyed. How do I know she’s not demented? How can I be sure she knows what she’s doing? I’ll just sit here looking shiny if you don’t mind, my little cowcatcher pointing down a track I’m scared to take. I’ll blow my whistle, look loud, look busy. But it’s a different country that direction—wild, uneven, dipping and twisting through ravines and around a mountain. I can’t know the bridge will hold.

If I stay where I am, I can feel oh so comfortable. I’ll check my email—maybe there will be an acceptance, a yes. Surely there will be some clear, even track that requires little fuel, few turns, low risk.

The wilds are calling.

A new way is calling. That says leave the drab, citified, normalized way. I want to do things—edit forever, muse over this verb, over that, clean my kitchen, clean my kitchen. Get my office together. Get my whole world together one safe paper clip at a time, and smile contentedly from the home station, a becalmed attendant in a pressed uniform who never goes anywhere. Let me stop pretending this is adventure.

Time to go.

*Wildwriting is 15 minutes of writing without outlining, drafting, forethought, or attention to “writing rules.” This wildwriting was not edited except I added a missing “e.” Note: publishable writing requires editing. This is not publishable writing and yet worthy in itself. Wildwriting prioritizes courage over refinement.

**I’m a train engineer for Halloween.

Watercolor & Ink, Christi Krug

Noticing my needs!  Plotting them on a map of my imaginary creative landscape.

What do I need? Vast territories of unstructured time, rivers of spark, plains of solitude, easterly reaches of space, the borderlands of challenge, mountains upon mountains of art, a sea of creative pals, a gulf of adventure, more lands of nature, southwest-y ideas, and a shore of mentors, not to mention a gargantuan lake of rest.

What do you need as a writer, artist, creator? So many writing women need time away, self-care, nurturing, friendship, and inspiration–which is why I created Wild Words Camp.

Your needs might be different, or similar.

What will it take, to do what you most want to do?

Imagine, paint, doodle . . . allow.

Your needs should be named. They should have a place in your world.

Yesterday I met Sterling, a gifted memoir writer who has been learning to tell his story. I encouraged him to launch . . . not just a writing life, but a reading life.

When we read, we connect, absorb, grow. So much more becomes available to us than when it’s just us, with our limited experiences, our habitual words.

Sterling asked, then, for my stories.

What were the times you struggled in your life? Did you write about those? What about broken relationships, depression—dark times?

Yes, I wrote about those, I said.

(Those stories became fiction, or poems, much of the time.)

I told Sterling I would share some dark adult moments encapsulated in story.

• Feeling like I’m in the wrong life: BloodFeathers
• Looking back on a difficult family relationship: This Wintering House
• Midlife crisis: The Anchor and the Feather 
• Shoulder injury during the pandemic: Wolfsblume

I’ve been writing about my traumatic childhood for decades now, such as my recent piece at The Good Life Review. After all these years, there’s distance, safety. But I love that Sterling challenged me to share things hard, recent, heartbreaking.

Oh how I love these brave writers in the world!

Dear friends, I’m challenged, excited, baffled, stumped, inspired, energized, disorganized, off and running in the month’s marathon of writing 30 poems in 30 days for Tupelo Press. Your sponsorships mean so much! Enjoy the poems of my fellow marathoners, or scroll to see what landed on other days. They are working poems—most in draft form—because no poem lands whole the day it emerges.

Here’s my Day 9 poem . . . .

Pigs in a Blanket

At the IHOP

silver-quarter horse in the lobby—

Giddyup! Pat the shining mane.

Get down it’s time for breakfast.

Sun glows giddy amber and cherry

through glass jugs of table syrup.

Grandma Mimi—Isn’t this fancy?—

orders for Mother, Theodore, and me.

Your mother’s doing much better.

Probably we won’t have to stay

with Grandma Mimi like we did last year.

Monday

Mother won’t roll out of bed.

I pull a sock soft and wheezy with dust

from under my twin bed, doing things I don’t know how

while Mother drools on her pillow—

pills on her nightstand, numbers by the phone.

I go looking and looking for a shirt,

the gruel of the day.

Tuesday

At the end of every line, lunch, recess.

Unchosen to bat, run, catch, kick.

Bitter as the thin skin of the red apple I eat for breakfast.

Wednesday

Late to school, a bad time to walk in,

heads turning, teachers frowning,

I wait on the swings for lunchtime

spooning the porridge of loneliness.

Thursday

Theodore doesn’t bother eating,

walks out with math book,

hand-me-down shirt dragging its tail.

I shake down the rattle of cereal with no milk.

Friday

Log Cabin syrup on Wonder Bread

kind of like french toast.

Last drops sweet like sugar all the sugar all the sugar.

Find dirty pants, wear those.

Saturday

Lincoln Logs on the floor.

Breakfast an idea forgotten in the tall stack of the day,

toppled.

Sunday

Grandma Mimi says it quiet, like other tables shouldn’t hear.

Doing better, aren’t you, Marilyn? 

Mother’s hand halfway to her mouth,

ruffly egg white on her fork.

Theodore pokes his over-easy.

It pops and runs orange yellow.

My plate. I unfold the blanket.

Three brown-pink sausages, safe together,

hot, close, stuck.

Roll out of bed, piggies.

I pick up the syrup and pour, drowning all.

YES

It could happen any time, tornado,
earthquake, Armageddon. It could happen.
Or sunshine, love, salvation.
It could, you know. That’s why we wake
and look out—no guarantees
in this life.
But some bonuses, like morning,
like right now, like noon,
like evening.
—William Stafford, from The Way It Is

The title of the above poem, YES, is my word for the year, inspired by the yes’s of 2022.

The nonprofit, Centrum, said yes to my application for a residency as an emerging literary artist. Every morning in October, as a ferry coasted in, I poured out my heart on paper while overlooking the sunrise on Admiralty Bay in Port Townsend.

My biggest YES from my experience was reframing my roles.

When I left on September 30, I was a coach who writes.

When I returned on November first, I was a writer who coaches.

I said YES to scheduling writing. I said YES to a new writing office. I said YES to creating quality time for stories, poems, and novels, rather than squeezing writing into spare moments. I saw that my energy and enthusiasm and joy would benefit every writer and creator I work with.
I learned to say YES to finishing a story rather than first answering an email. To quit wasting time on social media. To say YES to what I love, rather than something Instagram fans might like.

I braved rejection. I relaxed ideas of how my house should look, how I should celebrate Christmas, and whether I’m being “responsible.” I chose to be responsible to my most personal, creative, and spiritual goals, and in turn, to let this responsibility flow out into the world.

I found balance despite the discomfort of doing things differently.

I witnessed your YES’s, too. In Clark College classes both live and virtual, Zoom sessions short and long, a Vancouver women’s workshop, a stunning group of Master class writers, and in the blossoming Mastermind writers’ series. I enjoyed hundreds of awe-striking one-to-one sessions with phenomenal writers.

I feel grateful not just to be your coach, but to be one of you.

Wild Words Camp in July, along the Siuslaw River North Jetty, was a landmark event. Thank you to the writers who were part of the longest and most rustic adventure I’ve ever led: three nights leading the way to YES, unfolding in vulnerability, authenticity, trust, and community.

Thank you for showing your power and creativity at Wild Words Retreat in August at serene Siltcoos Lake, where fantasy stories mingled with southern roots on an old river dock in the fog. We kayaked, hiked to the beach, and journaled in sun and wind by the waves.

I felt awe leading your December adventure of Write at the Light at Heceta Head Lighthouse. We climbed forest hills, combed beaches, and witnessed night beams of the lighthouse sweeping through mist over craggy ocean cliffs and velvety trees. Toasty beside our Victorian-Christmas fireside, we shared darkness and light.

We writers say YES when we boldly take time for ourselves or our work. Whenever we sit with pages and laptops and notebooks. Every time we listen to each other, admire what we’re reading, or treat ourselves to adventures, classes, cohorts, and coaches.

Without guarantees, but with a full heart, I’m saying YES to whatever is next, for me and for you.

I can’t believe it’s been nine months since I moved to the Oregon Coast. Some adjustments have been huge, some small. One thing that’s changed: all my jacket pockets are lined with sand.

When I walk the beach, the sun gleams on frills of incoming tide. Waves ebb, revealing sunset striations of shells. Driftwood branches twist like the elegant limbs of dancers. The rocks are warm and curious in their smooth, odd shapes. I stoop, turn a stone in my hands, stand breathing.

Can’t resist filling my pockets.

Then I get home and empty my pockets. The rocks are ordinary, dull, flat rocks, and the shells are all broken, and the driftwood is riddled with knotholes, leaking grit all over the floor.

What happened?

I left the beach.

It’s the same with our art. When you or I absorb ourselves in wonder, relaxation, musing, and breath, we recognize the beauty we are holding. But then we walk away, removing ourselves to a harsher light. We set down our ideas, shake our heads and say, “What was I thinking? That idea (story, painting, poem) isn’t special. It’s a waste of time.”

Being a brilliant artist seems to require technique or talent or something we haven’t got.

Not true.

Being brilliant is this:

Staying on the beach.

You can’t sustain passion for writing or creating if you are hurrying yourself along to states of obligation and judgment. Away from the beach, away from the rapture.

I’ve learned how to help myself and others get back to the beach—figuratively, as well as literally.

We can experience breath and ocean, a salt breeze, a stone sparkling. We can fall in love again with our own way of seeing the world.

Don’t leave the beach! Join me in taking time out this summer, a little time every day, a little more time every week, or perhaps a deeper plunge on a retreat. Relish your deepest ways of being. Notice and collect all the beautiful things worth keeping.