How to Use Mercury RX in Aquarius in Your Writing Practice

Writing doesn’t always mean perpetually moving forward without pause. We flow and ebb. We wax and wane. As does the creative process.

I always recommend that writers use Mercury Rx as an opportunity to re-visit, re-consider, and re-vise their work rather than forging ahead with new projects or new pages on a current project. (Of course, I would never suggest that you not write if the impulse is strong, but if you don’t have a pressing deadline and the work will not be harmed by a step-back, Mercury RX can give a 3- to 4-week window of time to breathe and re-set.) I think of Mercury RX pauses a times to tend to what’s already there.

This RX is in Aquarius until February 20, so when we understand how this energy impacts us, we can consider more specific ways to use this planetary influence and continue to honor our writing practices.

According to The Mercury Retrograde Book by Yasmin Boland and Kim Farnell, during a Mercury RX in Aquarius, “You feel creative and ideas flow thick and fast.” They also say, “your final decisions should wait.”

This Rx, then, is ideal for brain dumping. This is not a time to think about writing polished prose, starting a new project, or launching into the void with a current project if you’re uncertain about certain aspects of it.

Allow yourself to pour the thoughts and ideas in your head onto the page. Treat the brain dump like a long free-write. Write stream of consciousness if that feels right. Be as detached as possible to the words’ purposes right now. The goal is to do a purge and get it all out so that you can begin to sort through it all when Mercury goes direct again on February 20.

This is also a good time to re-consider all things writing. Here are some questions to ask ourselves during a Mercury Rx in Aquarius.

  1. If you’re in a writing group, is it meeting your needs?
    If not, is the group structured in a way to allow for adjustments? If not, do you need to leave the group and find a new one or simply go off on your own for a while?
  2. Are you ready for technical malfunctions?
    Aquarius is all about tech, so be aware that your laptop and other devices may (almost definitely WILL) experience snags and upsets. Back up all your important work, even if you have it on the Cloud. And be prepared to either let the writing sit until the problem is solved or write by hand (never a bad solution, as science has shown that writing by hand has all sorts of positive benefits for us).
  3. Do you have in-progress work or a “waiting-to-be-started” file?
    Almost all writers have a backlog of ideas either in their heads or in a digital or paper file somewhere—stories, situations, and people that have bubbled up at random times felt to hold enough significance to warrant deeper consideration. Many of these are in different stages of completion. Some are merely random ideas accompanied by vague notes. If you find that something on your list no longer resonates, remove it. If something sparks you further, keep it, move it up the list, spend some time thinking about how to expand it and bring it to life when Mercury goes direct again on February 20.br>
  4. Are you prepared to wait to take praise and/or criticism to heart?
    Boland and Farnell also recommend avoiding confirmation bias during this time. What that might look like in your writing practice is a perceived, overblown sense of the worth or lack of worth of a project, which can arise from our own belief systems and thought patterns and be reinforced by comments from others who provide feedback on our work. If you have a reader or readers and someone raves about your newest pages, take it in stride, and wait until Mercury is direct again. Likewise, if someone harshly critiques your work during this time or finds only room for improvement, avoid the temptation to deem yourself a a bad writer. It could be that the person providing feedback has been afflicted with some kind of communication disruption themselves (thanks to the Mercury RX). Best to set those pages aside and be willing to revisit after February 20 with your own objective eye. Decide then for yourself if the pages truly are superb or if they do, in fact, need some kind of attention.

As for me, I’m using this time to print out the draft of my novel, which I completed during NaNoWriMo last November (and have been tinkering with since), along with ALL the random notes I’ve jotted down and typed up. (There are SO MANY!) I’ll be organizing these pages and creating an action plan to begin my revision process. I can’t wait!

I hope you’re navigating this Mercury RX without too many bumps or bruises. I’d love to hear how you’re using it to manage and enhance your own writing practice. Please leave me a comment below and let me know.

Sending you mad writing mojo…

Happy writing!

Johnnie

XO

Author Interview – Montrell “Chillin the Poet” Goss


What compelled you to tell the story/stories in your most recent book? (And specifically, why this genre?)

I wrote this story because a lot of the stories I listened to growing up were negative. They dealt with bullying and deaths. They had darkness. For example, the big bad wolf in The Three Little Pigs bullied them so he could eat them. In Goldilocks and the Three Bears she was responsible for breaking and entering and who looked bad? The bears. Those are just a couple of stories read to me over and over as a child. Hearing these stories put me in a place and created negative thoughts and from those thoughts, I became a bully. I found myself replaying what was read and taught to me. 

What obstacles—either inner or outer—did you encounter while writing the book?

When I was younger, a lot of my teachers judged me for not having a dad and labeled me a statistic. But I saw that what I learned was not right. So, with writing Chillin the Courageous Coyote Meets the Young Kids I was able to learn about myself, break the barriers and overcome the obstacles of judgment, and treat people who looked different than me or did not have as much as others may have had in a better way. 

How has writing your most recent book changed or added value to your life?

My book is not a traditional children’s book because my characters do not represent a certain race. They are multi-colored because I want every child to relate to the book. I have seen people not carry my book in their stores because I am a black author. However, through writing this book I have also gained a lot more respect and understanding from people that do not look like me. 

Did you self-publish, or did you go the traditional route? Why did you choose the route you chose, and what was that process like?

I chose to self-publish this book because I believe in myself, and I believe that people seem more genuine when you are self-published and trying to become more in life and become successful because they have seen my struggle and all the hard work it took to publish my books.

The process is easy for me because I have a team. I write the book and the team works on the other areas of the book before it can be published. For example, an illustrator from Forever Tattoo, a tattoo shot in Portland that sponsors me, helped me with the art for my first children’s book. I also have an editor I’ve worked with for the past few years

Are you friends with other writers? If so, how do they influence your writing? 

I am friends with other writers. We feed off of each other’s energy. We share thoughts and learn different writing styles from one another. It also helps see different views and brainstorm ideas. 

Do you maintain a regular writing practice? If so, what does it look like? If not, how do you stay engaged in your writing projects?

I stay engaged in my writing projects by writing the book. I go full force writing and completing it to have it out for people to purchase. My process for writing can be different, depending on the day. Sometimes I write every day. Other times, I write when I feel inspired, like when I’m watching a movie or a show and hear a word that inspires me to write. I also like to do free style where I just listen to music and say what is in my mind.

How many other books or stories do you have in progress right now?

I am in the process of writing my second book in a five-book series. In this story, we’ll find out if Triple C (Chillin’ the Courageous Coyote) will go to school. Stay tuned to find out.

Do you view writing as a spiritual practice?

I don’t view my writing as a spiritual practice, but I do believe that writing is a gift from God, and I use writing as a tool to speak. 

What would your life look like if you didn’t write?

Without writing I feel that my voice would not have been heard as much. Writing is a platform for me to speak to people in ways to share my story. Everyone has a story, and sometimes, they need to hear someone else’s story to help them speak. I believe that I do that for people. 

Why do you write?

I speak to people. I show people no matter the challenges in life they can overcome them. For me, I could not read or write well. I did not have any help from my teachers, so I taught myself and pushed myself. I took my pain of not knowing how to read or write well and turned into my passion. Now I am a published author.


Montrell “Chillin’thePoet” Goss grew up in a single-parent household. He is the youngest child among five siblings: three older brothers and a younger sister.

Growing up illiterate, Montrell made it his passion to teach himself how to read and write. Throughout his life, Montrell “Chillin’thePoet” Goss has experienced different adventures and achievements. Working as a coach, summer camp counselor, behavioral specialist with the school system, and now full time author “Chillin’thePoet,”  he has found himself in many positions that have allowed him to act as a male role model, and mentor to the people, especially youth, around him. Now the author of six books, Montrell’s mission is to try and help change stereotypes and statistics within the school system and his community through his writing. 

To learn more about Montrell and his work, visit his website: https://chillinscreations.com/

Lois Ruskai Melina – Author Interview

What compelled you to tell the story/stories in your most recent book? (And specifically, why this genre?)

I’ve primarily been a nonfiction writer. I began my career as a journalist. I developed a specialty in writing about adoption and wrote three books on that subject that were published by HarperCollins. I had a second career in higher education that was brief but required writing academic articles. So when I wanted to move from journalism to literary forms, it was natural to start with memoir and personal essays.

When I started some of the essays for The Grammar of Untold Stories, I wanted to tell a particular story—something happened in my life that I thought was interesting or provocative. But the challenge with personal essay is to find relevance that goes beyond the writer’s so that the reader can connect to it in a personal way. The title essay, for example, started as something I was writing for our annual holiday newsletter, and for that purpose it would have been fine to simply talk about what happened when I visited my grandmother’s village in Hungary. But as I wrote, I began to think about the immigrants who were at the time trying to make their way from Syria through Hungary to other parts of the world and the conflicts in the United States around immigration. My grandmother’s story and, in particular, the role of language in both communication and identity, took on greater significance and, I thought, gave the story wider appeal.

Other essays were driven by a desire to write about a feeling. I was influenced by Lidia Yuknavitch’s writing to think about how sometimes, even in nonfiction, the point of telling a story isn’t to tell what happened but to use what happened to go deeper into the resulting emotion. I tried and tried to write the story of my getting fired from my last job, and it just kept coming out bitter and defensive, but in “The Fires of Dismemberment,” I don’t give any details at all about what happened, I just tried to describe how it not only feels to get fired but also the intensity of that feeling. 

What obstacles—either inner or outer—did you encounter while writing the book?

When I started writing these essays, I had written enough memoir and personal essay to believe that I had the ability to write literary nonfiction. I was not working and my husband was encouraging me to do what I wanted to do, which was write literary nonfiction, so I had time and support, which many, many writers do not have. I’m so grateful for that. What I lacked was what I’ll call a “professional support system.” I’d taken a couple of nonfiction classes and gone to a couple of workshops over the previous fifteen years, but I didn’t have an MFA or a degree in English that, in my imagination at least, would have provided me with guidelines on craft, a range of structures, a reading list to consult, a greater sense of why something worked or didn’t work. I didn’t have writers who could give me feedback or a mentor I could contact when I had questions or felt discouraged. So I didn’t know, for example, how to decide that an essay was finished—was as good as it could be. I didn’t know what literary publications to submit to. I sent out a lot of work that I realized later wasn’t ready to be sent out.

I signed up for a workshop with Lidia Yuknavitch without having read her work, but I decided I should read her memoir, The Chronology of Water, before taking the workshop, and it just broke open something in me, as did her workshop. From there, I took more workshops with her and met other writers, which led to a writing group that I have found to be invaluable in getting feedback on my writing. Lidia’s also been a great support for me and so many writers. 

How has writing your most recent book changed or added value to your life?

I didn’t write the book with the intention of “leaving a legacy” or writing a story of my life, but after I’d compiled the essays and read through them, I realized that there was a lot of my life on those pages, and lot of insight into who I am and what I found meaningful and hard and joyful in my life. The title essay describes my search to know more about my grandmother, and I realized this essay collection will live on after me and be a resource for my grandchildren, who are now 5 and 7. So I dedicated it to them, and they were the first people who received copies from me.

Did you self-publish or did you go the traditional route? Why did you choose the route you chose, and what was that process like?

My book is published by Shanti Arts, which is an independent book publisher in Maine. I was realistic about the prospects of an essay collection by an unknown writer being picked up by an agent or a major publisher, so from the beginning, I looked for a small independent publisher who would take good care of the book. I entered the manuscript in “contests” with publishers who chose one or two new titles a year. I was a finalist in three of those contests, which gave me encouragement to keep searching. But I knew that many small publishers tend to have a particular kind of book they’re looking for—a “brand” if you will—and I needed to find a publisher that would be a good fit for my writing. An author I know on Facebook announced that Shanti Arts was publishing her book, and because I was familiar with this author’s writing, I immediately thought this publisher might be interested. 

I was aware that with an indie publisher, I’d have to do a lot of my own marketing—even if I’d had a big name publisher that would have been the case. What was important to me was that the book design be high quality, that bookstores and individuals could easily order it, and that authors who’d previously worked with the publisher would recommend them. Shanti Arts checked all those boxes.

The publisher offered me a contract fairly quickly. The editor collaborated with me on edits and cover design. We had some COVID-related delays that made it hard to predict the publication date, but that was true for many authors at both indie publishers and major houses. Overall, it was a good process for me.

Are you friends with other writers? If so, how do they influence your writing? 

My husband reads much of my writing. He reads a lot of fiction and nonfiction, so while he isn’t a writer, he’s a good reader. He’s really helpful when it comes to “big picture” feedback—he tells me if something is confusing or too detailed or goes too fast or too slow. Now that I’m writing fiction, he gets very invested in the characters and their emotional journeys! He also knows that I don’t want line edits from him—I don’t want him suggesting different words or moving paragraphs or rewriting sentences. (He may not have always known that.) He’s also great at giving me an emotional response to what I’m writing. If he tears up or gets angry at something that happens in the piece, then I know I’m on the right track. I have a wonderful writing group that provides great feedback, too, but it’s nice to be able to have someone right there when I want an immediate response or need to talk through a difficult section.

He’s a painter, so he asks me for feedback on his work. We can also talk about our artistic processes, which is helpful even though we work in different media.

It’s interesting that we can give each other feedback on our most creative expressions without it becoming problematic in the relationship, unlike when we give each other advice on driving or cooking. I think that speaks to the respect we have for each other and for our own work.

Do you maintain a regular writing practice? If so, what does it look like? If not, how do you stay engaged in your writing projects?

I’m a morning person. Even in college, I was the person who signed up for 8 a.m. classes. So it isn’t surprising that I write most productively in the morning. I’ve been writing a long time, much of that time either working in a home office or working for myself, so I’ve become very disciplined and fairly acquainted with my own process. Once I was working on a big project and had a tight deadline, and friends were in town and stayed overnight. We had breakfast, and around 8 a.m., my husband stood up and announced he had to get to work and left, then I announced I had to get to work and walked into my home office, leaving our friends to depart on their own. I’m a little embarrassed by that now, but we’re still friends so I think they understood.

Exercise is an important part of my day. I either do that before I write or do it at the end of a writing session. I find it can be helpful to work out right after a writing session or if I’m stuck—the movement seems to allow things to settle and give me an idea of how to move forward. 

I know a lot of writers are having difficulty writing during this pandemic, but I’ve been able to continue to work. I’ve written through some difficult times—I’m able to block out both personal issues and unwashed dishes. But I also know that there are times when the writing just isn’t there and when that happens, I just take a break and let things germinate. 

How many other books or stories do you have in progress right now?

I’m working on a novel consisting of three separate stories braided together. I’ve never written a novel and now I’m basically writing three! The stories are set in Iceland, France, and the Pacific Northwest and each one involves relationships between a pair of women and explores identity erasure, betrayal, and faith. It’s a challenge, but this story came to me in a way that was very compelling in its synchronicity, and along the way I’ve had further synchronicity, which has reinforced the idea that I need to write this. So I persist. 

Do you view writing as a spiritual practice?

I haven’t thought of it that way. For me, being outside and interacting with nature is my spiritual practice. Writing comes from who I am and how I express myself in the world, so in that way it’s more psychological. That said, the psyche and the spirit aren’t separate, so I don’t want to suggest they are unrelated.

What would your life look like if you didn’t write?

I’d be one unhappy person, and I expect my relationships would suffer as well as my health. Writing is very connected to who I am and what I feel I’m called to do in the world. (Can I change my answer now about writing as a spiritual practice?)

Why do you write?

I write because it’s what I feel called to do. There’s sometimes an almost physical need to write, not just a psychological one. The biggest drive, though, is that writing is how I work out meaning and connect with others and live my fullest life. I hope that people read my work and find it interesting or meaningful—or both—because it means I’ve connected with them and contributed positively to someone else.


Raised as a city girl before Title IX provided many athletic opportunities for girls, Lois Ruskai Melina discovered her love of sports and the outdoors as an adult. Her relationship to mountains and water and wildlife and the female body shape her worldview and inform her writing. 

Born in Cleveland, Ohio, Melina received a B.A. in Journalism from the University of Toledo and an M.A. in Journalism from The Ohio State University. She holds a PhD in Leadership Studies from Gonzaga University. She has worked as a journalist and in higher education.

Her writing has appeared in literary, mass media, and academic publications. Melina lives with her husband and their two dogs in Portland, Oregon, where she can often be found rowing on the Willamette River. She has a grown son and daughter and two grandchildren. 

More about Melina and THE GRAMMAR OF UNTOLD STORIES can be found at: https://www.loisruskaimelina.com/

Plotting and Pinching for NaNoWriMo

Photo by Patrick Tomasso on Unsplash

Are you a plotter or a pantser? I’m the latter. Without a doubt. In fact, I vehemently resist plotting. My intuition guides me through my story. I know who my characters are, I know what they want, and I know where they will be at the end.

I’m happy to sit down and pour out the connecting scenes that bubble up from my unconscious and get them on the page. I don’t suffer from writer’s block.

BUT… and this is a big one… there’s a lot to be said for creating a timeline/outline that serves as a road map for the creation of a novel. Otherwise, you’ll find yourself with a bunch of scenes only to realize you’ve left the protagonist’s deepest desire in the dust or the connections aren’t being made or the pacing is out of whack or…

This week, in preparation for NaNoWriMo, I’ve been working on my in-progress novel, Miranda’s Garden, which is about one-third of the way “finished.” I’ve created a time/outline in various forms.

  • A long-form textual portrait-oriented document that breaks down my acts and everything I’ve completed so far so I can fill in what’s to come – So. Much. Detail.
  • A more abridged version of that long-form document wherein I distill the key plot points and pinch points of the story, with each one highlighted for easy identification, and also includes the percentage of the story that should be told at each juncture, along with anticipated page numbers, based on a 250-word novel and a 300-word novel.
  • Index cards on the floor that condense and distill even more.
  • A highly distilled landscape-oriented version of the above. (See image below.)

If you want to get the most out of NaNoWriMo, I highly recommend creating one of these, even if you’re a pantser like me. Even if you highly resist doing so—like a cat being put into a tub of water—like me.

Creating this timeline/outline for yourself won’t rob you of your pantsing opportunities. There will be plenty of room for that within the framework you create. And I have to admit, seeing it all boiled down in front of me makes it all feel a whole lot more doable.

Best of luck to you in your novel writing adventures in November. I’d love to hear how the diagram helps and what your experience was like when December 1 rolls around.

Sending you mad writing mojo…

Happy writing!

Johnnie
XO