I write about my friends and people I love. We establish a relationship on the premise, usually on the idea that I’m a writer and I would like to learn and I would like to write about what I learn. So, there is a conversation about representation and trust. […]
I really didn’t start writing what I thought was really good, good poetry until I was in my early twenties. I’ve been reading consistently, voraciously—everyone—not just Black poets, but every poet I can get my hands on, so I give that advice to other people.[…]
What I really appreciate about agenting—and you can’t say this about many jobs in the world—is that my job is to represent authors and projects that I love. I can’t and shouldn’t take on a project unless I genuinely love it. […]
think too many writers don’t do enough research about the business of writing. They focus so much on the craft, writing their books, polishing them up and then, they don’t know what to do. Also, the all-time end goal cannot be how to get published, but rather, how to stay published.[…]
As painful as it is to dig inside these memories, there’s something larger that I’m trying to explore. I want to examine it because my family is not the only one who has experienced it. Just like my brother’s death didn’t just happen to my family.[…]
A literary and art journal
from the MFA community at
Antioch University Los Angeles.
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