How do you make a professional creative life? Melanie Faith is the person to ask. She’s adept in many written forms – poetry, flash fiction and longform. She’s also an expert on the teaching side with her work as a writing professor, editor and tutor. And her creative proficiency extends into the visual world – her photographs have been included in exhibitions and used on book covers. Now, over the past few months, she’s published a series of how-to guides for all these disciplines – so there’s loads I want to ask her.
First things first: where did this creative ethic come from? Her family, perhaps?
My family is working class, but they are all makers and creative problem solvers. There are dressmakers, toymakers, jewellery makers, masons and house builders, knitters, gardeners and cooks. They are resourceful in applying trial-and-error, working around obstacles and using whatever few materials they have to create something more than the sum of the parts. Their can-do practicality and inventiveness have influenced me for sure.
Personally, I’ve been encouraged over the years by writing teachers and professors and beta readers who gave thoughtful critiques. Also, my family and friends who asked how it was going and my parents for encouraging my goals. And by books I’ve read, and authors I’ve studied.
I try to run with all of the opportunities that I’ve been fortunate enough to have – like internet publishing and a university education.
How did you move beyond private dabblings to the point where you said, I am a writer, an artist, a poet, a photographer, a teacher?
What I love about the arts is that we can spend our whole lives practising, always discovering things about self and media and always seeking to improve.
I don’t have one big end goal; I have myriad little project ideas that I want to enjoy—some fall to the wayside, others stick but don’t create a splash, and others resonate with fellow writers. I just keep making things.
Did you study any of them formally?
Yes, I have a BA in English with a concentration in professional writing and an MFA in creative writing with a concentration in poetry. I loved the knowledge and writing practice I gained from both degrees. The years to focus on consistently making art for critique and forming community were priceless, too.
The cost was the only part I didn’t enjoy: even though I had academic scholarships and contributions from my parents and I worked part-time jobs during my education, I was still paying off lots of student loans for years on both degrees, which is a familiar story for many of the creative artists I know.
Have you done jobs that were unconnected to your creative work?
Like most writers and artists I know, I’ve had a variety of jobs over the years, including an early gig as a choir-music librarian. I worked in an attic-garret office, mostly on my own, alphabetising and cataloguing boxes of sheet music. It was a self-paced, methodical, time-to-think kind of job that replenished my introverted self. I took classes and had time to write before or after work.
Most of my other jobs were in various subjects and levels of education, such as teaching English as a Second Language (ESL) at summer camps.
You’ve recently published a trio of books on writing and publishing, all with Vine Leaves Press. Two are for writing teachers – Writing It Real: Creating an Online Creative-Writing Class for Fun and Profit, Writing It Real: Crafting a Reference Book that Sells. The other is From Promising to Published: A Multi-Genre, Insider’s Guide to the Publication Process , which has just been released. Why those books, and why now?
I wrote them to share what I have learned and to encourage fellow writers. For all writers and teachers, myself included, rejection is a realistic and discouraging part of the vocation, so if I can provide kind words and insights to keep other writers going, that is fulfilling.
Plus, the reflections were meaningful to write. I aimed to bring something personal to each topic as well as something that might inspire readers to apply the knowledge. I wrote the second and third books during the early days of quarantine, so the writing became a positive and wonderful escape in the grip of much confusion.
You’ve also written craft books on poetry and flash fiction, also from Vine Leaves Press. How did they come about?
For years, I had nudges of encouragement from students who’d suggest I should write craft books, but I didn’t feel confident about it. I remember sitting down to write what I thought would be a craft article to submit to a literary journal, and realised, Hmm, this might be something longer. I saved the file, worked on shorter projects, and then a week or two later, more and more ideas for a flash fiction craft book occurred to me.
Is there a common mistake writers make with these forms?
They send work to one or two editors or markets and, after rejection, think it’s unpublishable. But it’s very common to get persistent rejections before a yes; some of my favourite published work received eight, 10, 20 or more rejections. I encourage writers to keep submitting rejected work while writing new projects.
Also, taking classes and getting feedback from other writers or beta readers builds a community and gives writers more tools to revisit pieces with new skills that enliven and strengthen the work.
Also, it’s helpful to realise that not every piece of art we create needs to be published—some can be just for ourselves or just for fun or to develop our skills. As much as I’ve published, I have a bunch of work nobody else will ever read. They were projects that got me to the projects that did reach an audience. Patience and the long game are important in art.
And you’ve written a creative guide to photography for writers.
I don’t have any special training in photography (other than two or three online non-credit classes for fun). It took me decades to have the confidence to call myself a ‘photographer’, and that was after several publications of my photos.
I’ve always had a passion for photography, although not always the money to practise the art as much as I’d like. In many ways, I feel similarly alive and happy and intrigued when making a photograph as I do when writing.
The idea for the book was sparked when I wanted to teach a class that combined photography with writing. I looked for a class text that combined photography tips from a writer’s unique skillset and couldn’t find it. Something inside me lit up.I felt there was an audience for the book, because many writers I know have either dabbled in or studied photography, and also great cellphone and digital cameras have dropped in price and increased in quality, so more people can explore photography at their own price-point.
Tell me about your own photographic work. Your pictures have featured on book covers and in online exhibitions. How did that come about?
I submit a wide variety of photographic subjects (from abstract to nature and landscape to conceptual photography of people to still-life photos), and often I’m surprised at the pieces that make the cut and the others that don’t. Many times, I’ve read calls for submissions for thematic photos or exhibits or literary journals asking for art and decided to send work on a whim. About 75% of my photos are rejected. The acceptances, though, are well worth it. You never know what others will connect to, which is one of the marvellous things about art of any kind.
Make what you consider your best work, and then release it to see what others will make of it, without too many expectations.
On the other hand, my photographs that have gotten published or exhibited have had similar qualities: an unexpected angle, a very detailed or, conversely, a mysteriously blurred element, elements of characterization of a place or a person, sometimes a saturated or unique colour combination, and a wild card element, like unique subject matter.
As with my writing, I often follow my own ‘Hmmm, that’s interesting’ or ‘I want to know more about that idea’ moments.
You’ve combined the visual and the written arts in a set of prompt cards for writers, which you sell on Etsy. What gave you the idea to create those?
I love using prompts in my teaching and writing. I love the idea of a set of cards that writers can carry as a light, tactile object so that, while waiting for an appointment or at a park or on a lunch break, they can use slivers of time to make art in a low-key, self-directed, no-pressure way. As a freelance editor, writer, and teacher, my schedule is ever in flux, so I use tiny snippets of time to keep my writing process cooking.
Let’s talk about your own creative writing. You have a collection of poetry, This Passing Fever, 1918 Influenza Poems, which was also adapted for a music performance. And you have two chapbooks of poetry.
I wrote This Passing Fever several years before the Covid pandemic. At the time, like many people, I didn’t think we’d ever experience a pandemic ourselves. The collection follows the lives of several characters in a small town during the pandemic over a hundred years ago—some survive and some don’t. Many of the poems are persona poems and the POV shifts from poem to poem, back and forth between characters. It was a meaningful series of characters and time period to explore, even more meaningful to me now.
What are you working on at the moment? I believe there’s a disobedient novel in progress…
That’s so funny. Very true. During the first weeks of quarantine, I started a novel about two sculptors who are also teachers who met in grad school and reunite in 2018 as very different people. The story alternates POV and time periods in non-chronological order. I’ve taken the manuscript through two or three solid drafts so far, but there’s a lot more to explore and more creative editing to do. This summer, I look forward to delving back in, and also to working on more photographs and two poetry collections, one of which is set in the early 1960s.
But you’re already published as a novelist, with a Regency novella under a pseudonym, Lucy M Loxley.
I started the Regency novella during a fan-fiction exercise in 2015. I chose to write in the style of Jane Austen. I just kept writing to see where the story went, and then I had a novella, so I decided to see if it could be published. Happily, it was.
Why did you choose a different identity for that book?
It’s in a genre (romance) that is not my primary genre, and there is a tradition in romance for authors to take pseudonyms.
Why that name?
At the time of writing the novella, I was streaming a show called Mr Selfridge, and one of my favourite characters is Lady Mae Loxley. I love the double L alliteration, so I chose another name I like that has a strong L sound, Lucy, and combined them. The M middle initial is a wink to Mae and my real first name.
What have I forgotten to mention? I’m all awhirl with your creativity and I’m sure I’ve missed something.
These have been such excellent questions that inspired me to dig deep! Many thanks. I can’t think of anything you’ve forgotten.
Some quick-fire questions.
Writing or rewriting?
Writing for the discovery, but more time in rewriting than my younger self would have enjoyed.
Write in silence or listening to music?
Both, and it depends on the project. First drafts I usually create to music, but editing my work often requires at least some silence.
Five essential things in your writing space?
A profusion of pens in every hue imaginable, a postcard a writing friend took the time to snail-mail with a writing quote on it, a photo of my nieces (they are ever-growing and changing, and they inspire those qualities in me), my computer, my tactile writer’s notebook with a jumble of to-do lists and ideas/random thoughts as they monkey-mind around and before they disappear.
What would you buy for your writing space if money was no object?
A Leica camera. They are famous and pricey. It would be a very generous splurge that would be fun to create with! Where’s that money tree again?
Find Melanie’s most recent trio of writing books here Writing It Real: Creating an Online Creative-Writing Class for Fun and Profit, Writing It Real: Crafting a Reference Book that Sells, From Promising to Published: A Multi-Genre, Insider’s Guide to the Publication Process.
Find Melanie on her website, on Twitter @writer_faith, and on Facebook
There’s a lot more about writing in my Nail Your Novel books – find them here. If you’re curious about my own work, find novels here and my travel memoir here. And if you’re curious about what’s going on at my own writing desk, here’s my latest newsletter. You can subscribe to future updates here.
Jayne Martin has an impressive string of accolades for her flash fiction, especially her recent collection 
Roz I began my writing life with short stories, but they quickly ran away with me. I don’t think I have a short-form mind. What’s the secret of writing microfiction that is satisfying?
Roz You’ve had quite a journey, from TV writing to flash fiction. One is very collaborative, the other is highly personal.
ry beginning of my career. I’d been an actress first, but it didn’t suit me. At that time, I made my living as a script typist and thought, “Yes. This is where I belong.” In that work, I read hundreds of scripts and learned what worked and what didn’t as I started writing my own. The classes were taught by working professionals, some of which ended up mentoring me as I sought out an agent and those important first jobs.
Nail Your Novel 