My career has felt like a long series of searches, and nothing is ever illuminated until I am practically standing right on top of it. Trying to get published, to get an agent, in the beginning, was crushing. I slipped back in my archives to see if I should share a post, found something painful, read a few lines, and closed it. You get the picture.
I remember when I found YA—that was a wonderful moment, and it took a long time to get there. I remember when I found an agent, that dream I’d been longing for and it had come true after dozens and dozens of rejections over the years with previous manuscripts. I remember when I discovered that being published wasn’t all balloons and inflatable palm trees on swimming pools, and I felt crushed by that somehow, but I also felt as if I’d known it was coming all along, because I somehow didn’t fully believe I was allowed to be there at all. I remember when I found a new publisher, a smaller publisher, Algonquin Young Readers, and actively chose to make a leap and not be with the “Big Six.” (Haha—it was six big publishers then… now it’s five.) That was right for me. And now, as I work on my new novel, I realize it’s become a solid home for me, and I want to pinch myself.
Earlier this month, I found a new place.
My first teaching residency at Vermont College of Fine Arts went so very well, even I swear while I was living in that tiny dorm room! There was a point when I called E one night and I was trying to explain how I felt about being there and I said that, before this, whenever I was teaching somewhere or doing an author thing I’d be trying to adapt myself into what I thought people wanted me to be. I’d be faking it till I made it, you know? I’d work to fit myself in and I’d try very hard and often I’d succeed and no one knew how hard it was, but then I’d be exhausted. Flattened. Drained. But there at VCFA, I told E, I felt like I was being myself. I was teaching as I would teach. I was talking as I would talk. I was genuinely interested and inspired and fired-up and excited by everything going on around me—and none of it was forced, none of it was me trying to fit in. I’ve never had a job like that where I felt like I could be entirely myself and that was the right person to be. The community welcomed me in, and it was all of them—the faculty, the staff, the students, all the wonderful and talented and dedicated and engaged students—that helped make it such a perfect fit.
(And yes, I will fully admit the residency was exhausting, but in a different manner… I slept, happily, for a few days after I got home, but my mind was buzzing.)
I’m back in New York now and about to embark on all the work that’s coming to me this semester—I have five students I’ll be advising over the course of the semester, and in February their first packets to me are due. So we’ll see how I feel after I make it through this very, very busy winter and spring. (Speaking of busy: I’m also teaching not one but two Djerassi workshops and going to the AWP conference in the middle of this, so wish me luck.)
But right now? I feel like I’ve found yet another new home.
Between Algonquin and VCFA, between the books I’m writing and the students I get to work with, I’m in a strange, bubbly, inflatable-palm-tree-on-a-pool kind of place.
Does this mean I’m happy?
I was much better at blogging (and had more readers!) when I was angsty and unpublished and wanting to drown a box of rejection letters in the sea. But this is where I am right now…
This year was an external year. I was more public than ever before. I did so many things in front of people. I talked about my book in front of strangers more times than I can count. I spoke on stages, from podiums, in front of classrooms and bookstores and libraries, in circles of chairs. I met many readers, many librarians, many teachers, many bloggers, many people who were kind and welcoming to me. I met many fellow writers. I worked with dozens of writers on their novels. I taught three writing workshops and two writing classes at universities. I mentored multiple talented novelists. I spent most of my time reading other people’s books, to the detriment of my own. I kept thinking about my career as a whole, my path, my plan and how to be a teacher and a writer, but teaching took precedence. I worked on ways to build my c.v. and gain experience and I learned so much and I’m surprised, even still, at all I was able to do. Most of all, I published a book I’m immensely proud of, a book wholly and deeply me, and I survived it.
Now I’m hoping for something different for next year, for 2016.
This year was all about the external. I want 2016 to be more internal.
My schedule may be packed the first few months of this year, but I also don’t want to forget that other significant part of my life, the whole point of all of this, the reason I am here at all:
Tomorrow I’ll be coming up with my goals and writing wishes for 2016 and I’m thinking about the novel I’m writing now, and the novel I put aside, and the novels I haven’t yet written, and all the short stories I wish I could just write…
…and I want to find a no-pressure, positive way of shining a light on those things, too.
What if it’s a simple, small thing?
In 2016, I want to write something that feels true.
In 2016, I want to write a short story again.
In 2016, I want to try writing in third-person.
In 2016, I want to take on something surprising.
In 2016, I want to write about the deep past.
In 2016, I want to start something new.
I’m trying to think of what mine might be—perhaps one of those possibilities above.
All we can control for the year ahead is what we can do with our own two hands, and it doesn’t have to be outlandish, it doesn’t have to be everything. It can be one small thing… for you.
At the end of every year, I have hope for the new year. Every year, I think of all the things I could make happen… all the things I want to try for, all the ways I might do better, do more… I am extremely ambitious, many times blindly and to my detriment, and it’s my ambitions that are always staring me in the face when I reach the last days of December. I get to the end of the year and I look back on all the things I didn’t accomplish and the guilt trip commences.
I have a box in which I wrote down all my goals for 2015 on little slips of folded paper, and I’ll be opening it on New Year’s Eve to see what came true and what didn’t. I can’t remember what they all were… but I am positive there are more than a few in there that I didn’t reach. I happen to know, too, that at least one important wishful goal actually did happen… and I get a lightning-zing of excitement knowing it did.
I’m not in the mood for my usual guilt trip this year, I have to admit. I don’t feel like I failed. In fact, I feel pretty great about what I was able to do this year, considering. I may not have written as much as I planned to in 2015—to be clear: not even close—but I’m seeing that this was a year about something else that was significant in moving my plan for the next chapter of my life forward. This was about other parts of my life, my public life, my teaching life. I may have disappointed myself as a writer, but as an author, and as a teacher, I surprised myself like whoa.
For me, 2015 was a mix of these things:
Publicly, this has been an extraordinary year for me. I had written a whole other blog post about how strange and shy I felt about seeing The Walls Around Us named to a number of Best of 2015 lists, something that didn’t happen with my previous books, but I ended up feeling too strange and too shy to even publish that post. But that did happen to The Walls Around Us. It happened… to me. I’ve never ever ever had the kind of response to a book I wrote until this year. The words I have said about this (“I am honored” “I am shocked” “I am thrilled”) feel utterly inadequate, so I will go wordless here . . .
The year of 2015 was also extraordinary for another reason: This was the year I did more public appearances and events and author-things than I ever have before—things that would have caused me to panic and want to hide my head in the sand before, things I never would have thought possible, knowing how shy I used to be. But things I had always wanted to be asked to do.
This year was the first time I was sent to a conference by a publisher. (ABA Winter Institute in Asheville, North Carolina, was my first-ever publisher-sponsored conference! I didn’t know how to be an “author” and took the subway home from the airport instead of a cab because I wasn’t sure if taxis were really okay!) After Winter Institute, I was sent to a number of other conferences, culminating with NCTE/ALAN in Minneapolis, and leaving me feeling proud of myself, amazed, and… I’ll admit… exhausted.
This was the year I had my first-ever launch party for a book I wrote—I was too shy to do this before. It was at my favorite local bookstore, with one of my favorite authors, and it went so well that I went away saying I don’t think I’ll ever need to do a launch event ever again.
I am immensely proud of myself for doing these things, and doing them well (I would say; I hope others agree!), and I’m also so grateful and happy that my publisher invested in me and thought I was worthy enough to send to conferences and festivals.
Here are some photo highlights from this whirlwind year of events (click the images for the full caption):
My first-ever publisher-sponsored conference: Winter Institute in Asheville. I’m sharing a signing table with Gwenda Bond!
Here I am with my incredible Algonquin Young Readers editor, Elise Howard!
My first-ever launch party… and I was interviewed by one of my favorite authors (and a good friend), Libba Bray
At a book signing at Odyssey Bookshop in South Hadley, MA. This reader drove for hours with all of my books to get signed! So honored!
Signing books at my first-ever ALA conference
A YA Trio event at McNally Jackson with darlings Maria Dahvana Headley and Camille DeAngelis
Moments before my panel at the Texas Book Festival (kind of nervous)
Interviewing Kim Liggett at her launch event for BLOOD AND SALT
Having a blast at BookPeople in Austin, Texas, with Suzanne Young
Signing the Writing Barn in Austin, Texas, after teaching a week-long workshop there
This was also the year my teaching began to really take flight. I taught three private workshops at retreat centers. A dream came true when I taught a class this summer at my alma mater, Columbia University. And I was hired to join the faculty at Vermont College of Fine Arts, something I’d been dreaming about for years!
The Walls Around Us was reviewed (so very well!) in The New York Times. It collected stars. It made those end-of-the-year lists I never found myself on before. It made the Indie Next List, something I have always wanted.
This was also the year that I had a short story published in an anthology, another one of my dreams.
Talk about a pinch-worthy year.
Extraordinary, yes, oh yes, a thousand times yes.
But what about what was going on behind closed doors?
Privately, I’ve been… distracted, overwhelmed, and having trouble writing something worthy enough to follow The Walls Around Us. There. That’s the honest truth.
Partly it was all the public events I was doing—my first time for so much of this—and the toll that took on me, after. There was a lot of recovery time, I kept getting sick and facing migraine headaches and other issues, and I found myself needing to retreat, needing to tunnel inside myself, needing to isolate, desperately needing to be alone.
For long stretches—and especially as the year comes to a close—I find that the only person I can be near is my love, E, who understands this part of me and knows how I get when I’m overwhelmed. He has a calming vibe I need right now. I feel better just sitting next to him, resting my head on his shoulder, holding his hand.
Looking back now on 2015, I realize with a start that I became much more isolated than ever before, and have pulled away from many people. I’m not sure why I’ve put up this armor and hidden myself inside it, except that I think I needed to get through so much of the public part of my life and this was my best way to cope.
It’s made me melancholy though, at the end of the year during the holiday season, realizing how much I’ve isolated myself and how many people I’ve pushed away.
Then let’s talk about word count. Or better yet, let’s not.
Creatively, this was not a good writing year. The book I thought I had made progress on by the end of 2014 ended up not doing it for me anymore in 2015, and I made the difficult and terrifying decision to put it aside for now and work on something else. That means I’ve lost a year out of my publishing schedule, and I’m still not close to finishing a draft of the new book to turn in. I keep thinking of what some kind people are saying about The Walls Around Us, and I keep asking myself, Is this good enough? Is that the best I can do? Will I ever write anything I’m that proud of again?
I don’t know, but I am trying.
I also had a series of rejections all throughout the year to pretty much everything I applied for, but I have no bad feelings about it, because I know I’ve been lucky in the past. It’s not my turn right now. I’ll try again for some new things in 2016. I’ll keep trying.
What do I see ahead for 2016? A whole lot of hopes.
My first semester teaching for Vermont College of Fine Arts begins in January. I’m hoping my first residency and semester goes well—I’m hoping it’s a good fit, for me and for them. My biggest hope for 2016 is finding a permanent teaching home, and I hope VCFA will be it.
I’m also working on that second book on my contract with my publisher, Algonquin. I will have a draft in my editor’s hands for sure in 2016, even with the little misstep I took this year. I’m hoping I can make it wonderful. I am hoping my editor loves it. I am hoping I love it.
I also hope to continue publishing with Algonquin and sell a new YA novel to them in 2016, but I have to finish this one first, so I’m hoping to be very, very productive so I can make both of these things happen.
And on a personal note, I hope that, in 2016, E and I are able to find ourselves a new home.
I ended last year in Sylvia Plath’s attic studio at an artists colony, thinking I was writing the next book I would publish (the one I ended up shelving), terrified about what the first trade reviews of The Walls Around Us would bring (and then they were shockingly wonderful), hoping I would be able to find a new teaching job that would help me balance my career (I found more than one).
I end this year at home in New York City, just having spent a solitary day alone at my writing space. I just had the most extraordinary year of my career, and I am intensely grateful. I have no new book coming out in 2016, so I have nothing to be so terrified about, do I? I have a lot of teaching to do, and a wildly intense schedule for the first half of the year that includes VCFA and two back-to-back Djerassi workshops. I have a book due. I really, really have a book due. And I have these giant ambitions, these hopes, these wants, these desires, these what-ifs.
To everyone who was a part of making my 2015 so incredible in so many ways: thank you, thank you, thank you.
To anyone I pushed away in 2015 because I was so overwhelmed and needing recovery time on my own: I hope you understand and can be patient with me.
Fellow writers… This is your reminder that the deadline to apply for my 2016 YA Novel Workshop-Retreat at the gorgeous Djerassi Resident Artists Program in the mountains of Northern California is December 17, exactly one week away!
Here are some things that past workshop attendees have said:
“Nova Ren Suma often focuses on turning points in one’s writing career. The five days spent at her Djerassi YA novel workshop was mine. Insightful, kind, and inspiring, Nova sets the tone for an incredible retreat—and Djerassi provides the space and muse that every artist craves.” —Anna Waggener
“Nova is the kind of workshop leader who sees straight to the heart of your novel. Whatever you’ve envisioned, she’s there with you. She puts so much of herself into helping you move closer to the truth of your story.” —Courtney Leigh
“Nova is an absolute gem! She was wise, generous, and perceptive—in workshops, in one-on-one sessions—and set up a safe, inspiring space for us to share and grow our stories. I traveled many miles and crossed a time zone to work at Djerassi and it exceeded my expectations—it’s heaven on earth for artists and dreamers.” —Pip Harry
“So many writers, especially women or older people with families or jobs or both, cannot get away for a month. This doesn’t make us less dedicated to our craft, our art, our passions; it’s just a reality. These week-long workshops also give us the ‘gift of time’ and community that some of us may not have access to. This period of quiet has been nothing short of bliss.”
I’m not sure if there will be a workshop in 2017, so I hope you’ll consider joining me this coming March!
I’m struggling with something, an ongoing thing I’ve been struggling with for years. It’s about the novels that live under my bed. The two unpublished novels I wrote before I almost gave up writing, and then discovered ghostwriting, and, soon after, YA.
Two novels totaling eight and a half years of my life.
Two novels encompassing almost the entirety of the writing work done in my twenties.
Two novels that, in their own distinct and specific ways, broke my heart.
Every once in a while, I think of them, the way you’d think of an old love, someone who disappointed you deeply, but someone who meant a lot to you way back when. Someone who could’ve been a real and solid someone… if only things had gone another way.
I’ve only ever been in love once—with a human—but with books? I fall in love with each one I’m writing, over and over, again and again.
Lately I’ve been thinking back to my first novel.
I think that’s because an important yet tiny little piece of The Walls Around Us was taken from this novel, and snatching that piece and heading off into the sunset with it got me thinking about it again.
Today, the day after spending Thanksgiving at my mother’s house, I found myself drawn for no conscious reason to the cobwebbed recesses of my hard-drive, where some old drafts of the very first novel I ever wrote can be found. This book was my heart in a shameless, undeniable, mortifying way. It was more autobiographical than a novel should be, and it’s not something I could publish as is now, even if I had the opportunity, because many of the people in this story are still out there, living. It would have to be rewritten if I wanted to do something with it. I know this… and the weight of that has stopped me every time.
Even so, every once in a while, every few years, I take this manuscript out of its dark place, and I consider it.
I think of what could be done and redone.
I think of the possibility.
(I think, too, of the five years I spent writing and rewriting it—who wouldn’t—and I think, I do admit, of how incredibly amazing it would feel if one day, years into the future, I was able to publish a shiny, new version of it and how much I’d celebrate and probably cry.)
I look at this manuscript every so often, with curiosity.
Could I do it?
Would someone publish it?
Is it worthy, after all these years?
I’ve often heard—and I tell this to writers I teach as well—that for many writers, you need to write some practice novels before you reach the one you are meant to publish. The first novel you write may not be the first novel you publish… and maybe it shouldn’t be. Maybe you are better than that.
In my heart, Imaginary Girls was that novel I was meant to publish first (complicated by Dani Noir, I know, but publishing is nothing if not complicated). So much of what I wrote before Imaginary Girls was what led me to be able to write it. See? See how it was meant to be? If I had to have all that practice time, all those pages, all those years, it’s worth it to me, to have Imaginary Girls.
I regret nothing. Well, I don’t regret putting it aside then.
But hey, what about now? When I’m a better writer and could make something of this story in a way I couldn’t before?
When I have the distance?
Maybe there is a reason I keep opening this old file and peeking at the scenes I wrote so long ago that there are actually two spaces between sentences… (Aaargh! I was young! I didn’t know!)
My heart hurts today because I read some of it. I didn’t let myself read the whole thing—it’s a tome, overwritten and meandering and clocking in at an even 500 pages. But I read the opening pages, and I went through each of the seven sections, reading the last pages of each. By the end of the sections, by the last scene of the book, where my character finds a kind of closure with the person who’d terrorized her throughout her life, I felt a hard, heavy lump in my throat.
But I also had some ideas.
This novel was written before I knew what YA was. Now that I do, now that I have a career here, might that change some things?
I would have to rewrite so much of it.
I would have to reimagine, rethink, re-plot.
I would have to disguise a great many things.
Barely anyone has read this—the manuscript was only ever read by a single (adult-fiction) agent. I put the manuscript aside mainly because it was too close to me, it was too true, it was too painful, and I was unable to separate myself. I wonder now… has enough time passed? Can I be honest, can I be serious, can I be ruthless?
It could be a YA novel, or a middle-grade novel, if I cut out some things—I’m not yet sure.
It could be something.
And yet, do I want to go back there?
• • •
I wonder, fellow writers: Have you ever returned to a long-buried novel that you relegated to live in your closet, or desk drawer, or deep under your bed?
Have you performed a resurrection?
And if you have, did it fail and did you have to shove the corpse back under your bed, or were you able to breathe new life into something that, it turned out, did ultimately deserve to have a day in the sun?
This has been my most public year, ever, in my life. It’s been wonderful… and it’s also been somewhat of an adjustment for a shy person like me.
So much of 2015 has been about teaching. I really made this goal a priority to have better balance in my life—the ultimate goal was to get a lot of experience so I could get a job at a low-residency MFA program, and I had a specific school in mind—and I’m astounded at how much I did this past year, and how, even before the year was over, I made my goal come true.
I’m going to talk about some of the not-so-good stuff, but first, let’s focus on the good…
Last week I was in Texas, at the Writing Barn, Bethany Hegedus’s wonderful retreat center in the heart of Austin, leading what was billed as A Week in Residency with, well, me. This was a weeklong workshop-retreat for YA and middle-grade novelists, and ten wonderful, enthusiastic writers signed up to spend the week with me. We workshopped, we did writing prompts, we talked, we got inspired, we had guest authors visit, we did readings, we had a real whirlwind… I was so thrilled by how well it all went, and I miss the writers now that it’s over. My TA Jess Capelle (one of my former Djerassi workshop writers!) helped me through the whole week and was rewarded one night by a visit from a possible chupacabra making noise on the rooftop of her cabin! I left the week feeling really inspired, really content and excited, and I hope the writers who worked with me did, too.
Here are some photos from the truly fantastic week (I am sorry to tell you there is no photo of the chupacabra):
I may as well take this moment to tell you that if you’re reading this post thinking it might be nice to take a workshop like this with me, I’ll have to calm down with the outside teaching very soon, because I’m now on faculty at Vermont College of Fine Arts. BUT, I am still committed to teaching this last weeklong workshop in 2016, at the Djerassi Resident Artists Program in California, quickly approaching in March. Apply now, before the deadline of December 17!
And I should tell you that Bethany has some wonderful programming upcoming at the Writing Barn in 2016, and keep an eye on the website!
Now a breath.
I do need a breath. It’s been a busy year of events, teaching, and coming to a great realization about the book I was writing, which meant shelving one thing and starting fresh on another.
I have one last thing before the year is out. In case you’ll be at this conference in Minneapolis, I’ll tell you:
This weekend I’ll be at NCTE/ALAN (I’ll be signing The Walls Around Us on Saturday, November 21 2-3pm at the Algonquin booth 525–527, and I’ll be on a panel at ALAN first thing Tuesday morning).
But after that I need to go quiet. The teaching and appearances have been important, but know what also is? The writing.
So what about the writing, you may ask? What about the writing…
I know I made the right decision about my next book. I know that in my heart and my gut. But what I don’t know is what’s ahead for me, for my writing career, and the weight of that has been pressing down lately, pressing down hard. Being online and seeing all the news of book deals flashing by makes me happy for the writers… and mad at myself for not being faster, more prolific, more career-minded, more smart. This ugly game of comparison is something that gets a lot of us down.
I’m worried my negativity is seeping out. Not to my students, no, not during my workshops—not when I’m talking one-on-one with another writer about her novel and wishing her all the great and lovely things. I mean when I’m alone with myself, in my writing corner, as I am today, when it’s just me and the page and my whole future is reliant on what I do there, what words come out, and how well they sound and how slow or fast they dribble onto the page.
Sometimes all those doubts and second-guesses and ugly thoughts get animated into a creature that follows you and wants to take you down: a chupacabra on your rooftop, and you’re huddled inside wishing it would go away.
I think what would help is some time off from social media (Twitter especially) and my bad online habits (Googling myself to see if there’s something I should know and seeing snippets of bad reviews of my novels by accident in the search results… Clicking away incessantly on distracting, unnecessary things… Comparing myself again and again to everyone else, when I have always and only been myself in all things and I need to remember that).
I may take off the month of December, apart from sharing the Djerassi deadline and book news, when/if I have things to share.
I may hide from the chupacabra for a while. I know so many of you understand.
I want to make real progress on this novel before 2016 gets here, so I can look at this year and see that I didn’t just make my teaching goal come true… I also moved forward as a writer. That’s what I am first and foremost. (Otherwise, why even bother teaching at all, right?)
For those of you feeling like you let this year slip away from you in some places… it’s not over yet. We still have time.
What if we wrote a ton of words that we felt good about to round out the end of 2015?
As some of you may know—or might have guessed—I’ve been thinking a lot about “success,” purpose, and happiness. I’ve been shifting the focus of my career to have my time not just be focused on me-me-me and promoting my books and writing as fast as I can just to have another book out in the world. I’ve realized I don’t want to be a full-time author. I don’t want to race to write as many books as I can to keep myself afloat—I want to choose carefully what I publish, and write only what speaks to me deeply in my heart. I want balance. To do something that feels more rewarding… My move to Algonquin was the first step. And in addition to that, through all my searching and attempts at reinvention, I discovered a real love for teaching. I realized this could be the answer. I’ve written about my shifting vision for career and success before here and here and here.
My active goal for quite some time has been to build up my c.v. and take on as many teaching opportunities as I could to gain experience and become a better teacher. So I taught courses online. I taught workshops and retreats in person. I joined the Your Novel Year program as a mentor and an online instructor. I taught a course at Columbia University this summer. I just co-taught a workshop at Highlights. And in November I’ll be teaching a workshop at the Writing Barn. I did all this with a solid goal in mind: to find a regular, more stable teaching position at a university.
I had my sights set on teaching in a low-residency MFA program.
I had my sights set on one particular program, in fact: the MFA program in Writing for Children & Young Adults at Vermont College of Fine Arts (VCFA).
For years, I’ve been watching VCFA from afar, admiring the program, its faculty, its graduates, and asking many questions about how the low-residency model works and specifics about the program. I got my own MFA years and years ago, in a full-time program, and have since found myself envying VCFA’s hold on its alumni. Writers clearly love this program. They go back for post-graduate semesters and to be graduate assistants. They talk about it with such passion. I went to a VCFA gathering at the Boston AWP conference (a friend of mine is a graduate and I tagged along) and was struck by the community that night, impressed by how the program bonds everyone together and seems to live on far from Vermont, even after graduation. I found myself wishing I’d been part of a community like that, but my own MFA had nothing of the sort. I’ve read books from graduates of VCFA and admired the range, and the skill, and the voices.
VCFA is doing something right, I’ve been thinking. Lucky students. Lucky faculty.
So when I had more experience teaching and wanted to pursue a position at an MFA program, of course VCFA was the first to come to mind.
Well, my goal turned real sooner than I expected, and I am beyond thrilled to say:
For those wondering, just to get this out of the way since I’ve been asked: No, this does not mean I’m moving to Vermont! (Too bad, right?) VCFA’s program involves two ten-day residencies per year, in January and July; for the rest of the time, as usual, unless something happens, I will be as usual in New York City.
If you find yourself interested in this wonderful program, and are seeking a flexible but rigorous MFA, apply! It looks like there are two deadlines per year: September 30 and March 15, depending on when you’d prefer to have your first residency.
I’m feeling like this is a new chapter for me. I’ve been wanting more solid ground and a place to teach more regularly, a way to balance my writing career that feels right, and I am very hopeful that VCFA will be that place for me long-term.
As for my other teaching, this means a few things: I won’t be able to continue on with the Your Novel Year program at the Piper Center in 2016, and I’m working with my last mentee there now. It’s been a wonderful experience, and I’ve been honored to be a part of it. I also expect to be teaching fewer private workshops in 2016 while I get my bearings…
In 2016 I also will be stopping the private manuscript critiques and private mentoring I’ve enjoyed so much, at least for my first semester so I can focus my time on my VCFA students. However, if you are a former student of mine and we’ve already discussed something for 2016, you are welcome to contact me to see if we can make our schedules meld.
I don’t know all of what January will hold. I’m excited. Nervous. Thrilled. We’ll see how the first semester goes!
If you’re a VCFA student in the WCYA program, please feel free to say hello! I’ll see you on campus in January!