Monthly Archives: November 2017

An Interview with Author Heloise Jones

Author, mentor, and speaker Heloise Jones helps writers and other artists discover how to complete their work and sustain creativity. Her inspirational book The Writer’s Block Myth: A Guide to Get Past Stuck & Experience Lasting Creative Freedom (Lifestyle Entrepreneurs Press, 2017) is for anyone who wants “to live their joy in the process and to create.” Connect with Heloise on her website HeloiseJones.com and on Facebook and LinkedIn.


What is your elevator pitch for The Writer’s Block Myth?
The Writer’s Block Myth is a book for people living in the real world. It’s an informative and supportive guide that helps them move forward to complete their goals, and live a creative life that works for them. It’s about what being a writer is.

What unique challenges did this work pose for you?
I learned how much the economy of online writing and reading has affected my writing voice. When writing fiction and poetry, my process is longhand, pen to paper, for rough drafts. When writing essays and nonfiction, it’s fingers to keyboard from get-go. The past two+ years I’ve focused on my blogs. And though my blog (Getting to Wise. A Writer’s Life) is a journal about navigating life, I compose on the computer. I had to write the entire manuscript of The Writer’s Block Myth twice to shift into the voice that works as well on paper as online.

What was the most rewarding aspect of writing it?
Most rewarding while writing the book was the way it easily organized itself. The supporting materials I gathered, the knowledge I’d garnered from years of conversations and work with writers, and the interviews I conducted as research all dovetailed. After writing it, my reward was hearing from readers—how they felt seen and understood, and the many ways the book helped them. Some said they were able to move forward after feeling stuck for one or more years.

Tell us how the book came together.
I talk a lot about this in The Writer’s Block Myth. The short answer is it took 3 1/2 years to finish from the first thought to printed book. I didn’t intend to write a nonfiction book. I’m a novelist and poet at heart. In November 2013 I intuitively got a message to write this book and talk about myself. I was very private at the time, and said no to the Universe, so to speak. Two years later, the title of the book flew through my mind while I was writing a scene for a novel. In 2016, a list came to me that I turned into a blog post, which became the structure for Part One of the book. Once I accepted I’d write The Writer’s Block Myth, I trusted the process.

I put everything I came across—quotes, articles, blogs, Facebook posts—in a decorative bag without editing or culling (a tip I share in the book). I conducted conversation-interviews with writers and authors of all levels and experience. My intent was to see if this book was something needed and/or wanted. My approach: offer a loose outline of four open-ended questions and then listen. I learned these writers’ challenges, how they handled their frustrations, the language they used when speaking about it, and how it affected their lives. In November 2016, three years from when I received that first intuitive message, I went into retreat, sorted what I’d gathered, and wrote the book. It came together seamlessly, and was published less than five months later after one complete rewrite and three edits between me and an outside editor.

What makes this book standout from other self-help/reference books for writers?
My approach is writer’s block is real. That it’s a symptom, not a pathology. What happens on the page is tied to what’s inside us (how we assign value and give meaning to our work, ourselves, and our process) and links to something in our life in the real world that we can shift so writing flows. Or, in the least, see what flows as something we can value.

The Writer’s Block Myth is informative without shaming or positing one right way. It includes the voices of other writers, plus short, effective exercises to help move the reader forward. It’s written for people living everyday lives loaded with the challenges of relationships, obligations, and lifetimes of shoulds, oughts, and conflicting desires. It addresses those challenges, and offers numerous examples and empowerment tools to help shift perspectives. The goal I present is to find and embrace what works best on the page and in life.

Writers are not all the same, so ways of being with the process are individual. My hope is readers create a satisfying life, as well as written works. That they feel freer in the process, and know they have a supportive guide while they do it.

Do you have a favorite quote from The Writer’s Block Myth you’d like to share?
I’m a person with many favorites. A quote I love is from a tiny book created by a 13-year-old boy named Anthony. Because, in the simplest way, it sums up the heart of observing with awareness and being open to process, two facets of being a writer I emphasize:

“To be creative, don’t look for something. Look for Anything.”

Was there anything surprising you discovered while doing research for this book?
Not surprising as much as affirming: The consistency and similarity of the challenges and issues expressed by all the writers I spoke with, no matter their experience or background.


KLWagoner150_2KL Wagoner (writing as Cate Macabe) is the author of This New Mountain: a memoir of AJ Jackson, private investigator, repossessor, and grandmother. She has a new speculative fiction blog at klwagoner.com and writes about memoir at ThisNewMountain.com.




Author Updates: Irene Blea & Kit Crumpton

Irene Blea and Kit Crumpton both write about subjects that cut to the heart. Kit finds inspiration in her family’s past, writing historical fiction about World War II in her first novel and mental illness in her second. Irene’s work weaves issues of social injustice into the women’s stories in her novels. (This update focuses on each author’s newest work, but links to their first interviews regarding earlier books are included at the bottom of each section.)


The first book in Irene I. Blea’s trilogy, Suzanna (2012), introduces the novel’s namesake, a teenager forced to marry an older man and live in isolation in territorial New Mexico. After enduring hardship and abuse, and giving birth to two children, she makes a choice that will haunt her for the rest of her life. Suzanna’s story continues in Poor People’s Flowers (2014) and concludes in Beneath the Super Moon (2016) where she must “confront the darkness in her heart and the sorrow of her past.”


beneath-the-super-moon150You’ve said before you have trouble choosing titles for your books. How did you come up with the title Beneath the Super Moon?
My original choice was taken by another book and a movie. After having written Daughters of the West Mesa (2015), which was rather dark in character, a new Suzanna novel seemed lightweight. I wanted it to bring out the things that can happen to women at night, and I had photos of the last supermoon. Suzanna needed light to do what she needed to do at night.

What was the most rewarding aspect of writing the book?
To have completed my Suzanna trilogy, based on the marriage of a very young girl to a much older man, how she ran away, left two sons, and matured for several years with a desire to reunite with them.

What is it about Suzanna that makes readers connect with her?
Her youthful loss of innocence in the first book, that she grows older in the second and third while giving voice to her powerlessness, claiming her power, then putting it into action. She is transformative as a social-historical character. She symbolizes profound change, and captures the lives and culture of people often left out of the American literary tradition.

Of the three novels in your Suzanna series, which one did you enjoy writing the most?
I enjoyed them all, but was challenged to write Beneath the Super Moon because I wanted to write about the evil of the hatred of women, the desire of some to hurt them, diminish them, control them, use them, and discard them. It was a dark subject, but a very real one that demanded more creativity in order to tell the story without editorializing or preaching.

What do you hope your stories accomplish?
Mine are healing stories. They focus on misogyny: prejudice, intolerance, chauvinism, and disdain for women. Women of color cannot escape the double whammy of racism and sexism although they are born in this country. These wounds are embellished on their souls and hard to heal for there are few who specialize in this field. My stories can help.

You come from a family of storytellers. What is the greatest tool in a storyteller’s bag of tricks?
Storytellers listen. We study how people walk, talk, eat, what they react to, and much more. We know our subjects and their environments well. I am bonded to time and place when I tell a story, and I often see no separation between the two. Storytellers are often teachers. I was a university professor for almost 30 years, and I am still teaching in my stories. I have also discovered that I am a performer; I didn’t know this until after I retired.

What is the best compliment you’ve received as an author?
A relatively uneducated, fifty-year-old mountain man, wearing a long beard and an old flannel shirt told me he wants his grandchildren to grow up and be able to read my books.

What writing project are you working on now?
A memoir about how I lost my personal story. I was born on the top and the north side of the mountain in Colfax County, New Mexico. It was the second poorest county in the country that year, next to Appalachia in Arkansas. I was also born to Tewa and Hispanic parents who had to move or starve alongside their starving children. The Americanization of Irene Blea is depressing and profoundly painful. It left spirit, or soul, wounds that I had to heal. I lost my past in order to survive it. All is well, for I transformed into a Ph.D., a world traveler, and an author with readers in New Zealand, Australia, Europe, and Central America, even a few in the Philippines.

Read more about Irene and her writing, as well as her standalone novel Daughters of the West Mesa, in her first interview for SouthWest Writers. You’ll find her on LinkedIn, Facebook and her website IreneBlea.com.


The Fading of Lloyd (2017) is Kit Crumpton’s second novel based on family history. The book follows the Huttlestons’ struggle to cope with their son’s mental illness and the tragic handling of the mentally ill in the early twentieth century.


The Fading of Lloyd is a novel inspired by your uncle’s life and untimely death. Why did you want to write his story?
When there is a family member that cannot function well, the clarity of that situation becomes easily observable. So Lloyd, and the issues surrounding him, was something I wanted to know. I’m convinced there is a subtle influence—an unspoken energy—that flows down from generation to generation in families. It affects our belief systems, our functioning, and our quality of life. Why do some folks enjoy healthy, prosperous lives and others do not? I find the question intriguing. Life events brought Dr. Murray Bowen’s Family Systems Theory and his Family Therapy in Clinical Practice to my attention. My personal journey expanded to a four-year study of the theory and my nuclear and extended family.

When readers turn the last page in the book, what do you hope they’ll take away from it?
Compassion and understanding. I hope my readers learn how the mentally infirm were viewed and treated in early twentieth century society.

What was the most difficult aspect of writing the book?
Looking at the power of secrets and how they played out in this nuclear family. Writing The Fading of Lloyd gave me context, perspective. The story reveals the secrets, and that power is now diffused, weakened. With context there is understanding and then forgiveness. Closure. Here is a riveting example: I have a surviving uncle, my father’s brother, who knew the Huttlestons well. He never saw Lloyd, never knew he existed. And yet my uncle thought he KNEW this family. Lloyd was a secret, closely held.

What lessons did you learn from writing and publishing your first book, Raiding the Empire of the Sun (2015), that you applied to The Fading of Lloyd?
I built the infrastructure of my indie-author business (Ro Bar Romaani, LLC) while writing my first book. I also had to find a good editor, someone I could trust and whose work I respected. It took time to figure out my requirements, whittle down possibilities to four candidates, conduct interviews, and choose one. I’m thrilled with my choice. The Fading of Lloyd was easier because I was able to leverage off this established business infrastructure. I learned that writing and publishing a book takes a long time, but it’s worth the time to make a good product. I also learned the importance of using beta readers who are either subject matter experts or people whose opinions I respect. Beta readers are fabulous! I use them as a last step before I self-publish. I recognize their contribution in the Acknowledgements of my books.

What is the best compliment you’ve received as an author?
The most amusing compliment for The Fading of Lloyd was on Goodreads: “Warning—have a box of Kleenex nearby, I bawled my eyes out for the last 20 pages or so.” The best comment I received for Raiding the Empire of the Sun: Tinian 1945 was from a lady aviator who bought my book and later asked me, “Are you a pilot?”

What has writing taught you about yourself?
My unconscious mind is a powerful resource, particularly if I’m stuck on something. Sometimes, to ferret out its wisdom, I have to do something physical while the issue percolates. My unconscious mind eventually submits the solution to my consciousness. Once when this approach didn’t work in a timely manner, I prayed and asked God if I was supposed to write the book. After that the solutions presented themselves. I know my subconscious gets bombarded with a lot of data collected throughout the day. So it’s my habit to go to bed early in the evening and let my subconscious work while I sleep. Early morning, physically refreshed, I let this resource direct the words on paper. I’m always amazed at what happens.

What writing project are you working on now?
I’m writing my third book, The Fading of Kimberly, which is a continuation of the storyline of The Fading of Lloyd. I have received a call-to-action from a couple of readers—a need to arrange the demise of my character Mr. Eddie Fisk (bad guy, health care provider). I’m also moved to write it from this comment on Goodreads: “…I encourage people to read this [The Fading of Lloyd] in hopes that they will implore Ms. Crumpton to continue writing about these characters, dive deeper into their lives—Lloyd, Kimberly Weatherspoon, Eddie Fisk with the addition of Dr. Reed, the psychiatrist.”

Discover more about Kit and Raiding the Empire of the Sun in her 2016 interview for SouthWest Writers, and connect with her at KitCrumpton.com.


KLWagoner150_2KL Wagoner (writing as Cate Macabe) is the author of This New Mountain: a memoir of AJ Jackson, private investigator, repossessor, and grandmother. She has a new speculative fiction blog at klwagoner.com and writes about memoir at ThisNewMountain.com.




An Interview with Author Alana Woods

With music as a constant companion, Alana Woods has pursued her life’s work in the arts and healing. She is the author of three nonfiction books: The Healing Touch of Music: An Exploration (2003), Music for Life: Using Music Prescriptively (2011), and her memoir, The Song I Hear, My Life with Music, published by Irie Books in 2016. You’ll find Alana on her website SoundVistas.com and on Facebook.


Tell us about The Song I Hear.
This book highlights the new field of Music Medicine, or Prescriptive Sound, which has been the major theme of my life. It details my own journey to create this work, and how I was prepared from early childhood to create a profession as an adult in this new field. It was the major theme of my life.

When readers turn the last page, what do you hope they’ll take away from it?
The beauty and adventure of a life imbued with music, and how I share it in the world as a sacred healing art form. Also inspiration and education on how they can use these ideas in their own lives.

What challenges did this work pose for you?
I did not have someone to follow who went before me to show me the way to create the work. I needed to learn about the various aspects of sound healing, how to put together presentations and create multimedia products explaining the power of music. Then through my own life experience, I learned. It is still a pioneer field in the world. And I consider myself a pioneer.

What was the most rewarding aspect of writing it?
The feeling that my journey is now documented as a legacy for my family, children and grandchildren, and the world, musicians and people in the healing arts. A sacred work.

How did your memoir come together?
There were special journeys I documented early on (to India, Greece and Ireland) as they were very powerful experiences. So that when I decided to write the book, I had detailed information that was true memory. The idea to write this book came to me often through the years. I often heard people say “your life is so interesting, you should write a book.” I had already written two other books on music, but this one needed to be my own personal journey. And the right timing needed to happen. It only took one year to bring it all together with the excellent help of the Hausmans who were editors and publishers and who became personal friends. Knowing when the book was done was an intuitive feeling…a “knowing.” I included my multimedia products, harp recordings, and writings in the back of the book.

What is the best compliment you’ve received as an author?
“It’s a wonderful book. I wish everyone could and would write a book like this telling of their own inner and outer journey. I felt I was spending a lifetime with a wise, deep woman as she discovered and revealed her own emerging awareness, and her deepening love for the beauty of the life principle. This book is a miraculous testament and gift to her life, herself, and to all who have the good fortune to read it.” ~ An Amazon Reader

When did you know you would share a path with music in your journey through life?
When I was very young, I think around four years old, I had a knowing that I would be both an artist and musician. There was no doubt in my mind. My art was mystical, my music was sustaining, a lifelong companion. I was told to use my music for others in this life, and at the same time it was, for me, a true gift that nourished me, guided me, and loved me. I was trained professionally in both art and music. My first instrument was piano on which I learned the structures of music very well. Later it was harps that were glorious. I recorded, taught, performed, and accompanied myself telling stories of transformation on the harp.

Do you have a favorite quote from The Song I Hear?
“The sounds of a million years flowed through my mind as I stood on the banks of the Ganges.”


KLWagoner150_2KL Wagoner (writing as Cate Macabe) is the author of This New Mountain: a memoir of AJ Jackson, private investigator, repossessor, and grandmother. She has a new speculative fiction blog at klwagoner.com and writes about memoir at ThisNewMountain.com.




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