Together We Thrive: Encouraging Women Through Writing and Workplace Communities

By Daria E. Topousis

In 2015, I felt like my whole world was coming apart. I had spent ten years writing a memoir that never came together and had finally made the hard decision to abandon it. I had returned to my first love, fiction, but all of the stories I sent out were being rejected. I was a failure as a writer. I started to wonder if I should give up on my life-long dream. And then I read an article in Poets & Writers Magazine about an organization called Women Who Submit. The story of how women stop submitting after a few rejections hit close to home, and I loved how the founders wanted to change that. I showed up to my first meeting about a year later and knew I wanted to be part of this community. 

Around the same time, I was floundering at work. I had worked in software at the Jet Propulsion Laboratory for twenty years. It was the lifeline that kept me financially and intellectually tethered, despite the vicissitudes of my writing life. A group of new managers were hired in my organization, and I was suddenly feeling unwelcome in the male-dominated technology world. I was starting to wonder if I should leave my software project management career altogether and find something else to do to earn a living. This struggle went on for a couple of years, and in the heart of it I went to a conference called the Grace Hopper Celebration of Women in Computing (GHC). I was blown away by how welcoming everyone was, despite the fact that it was an enormous conference (15,000 attendees that year). I went to tracks where women told stories similar to my own. By the end of the event, I decided I was not going to walk away from my career. No, I was going to stay and try to bring this spirit of support back with me. I wanted to have that encouragement and enthusiasm every day, not just once per year. So I organized a meeting of women who had attended GHC to see if they were interested in forming some kind of community at JPL.

Fifteen women showed up to our first meeting. We talked about the conference, and about how it had been a morale booster for all of us when we attended (all at different times). We decided we wanted to continue meeting, but what would we focus on? We scheduled a second meeting to figure that out. Women who had attended the first meeting started spreading the word so that by our second meeting forty people showed up. We talked about our struggles, our achievements, and suggestions for future meeting topics. I also asked if anyone would be willing to help manage the group, and several volunteered. And so Women in Tech began. 

From the beginning, we wanted to be a peer-to-peer network that would foster each other’s careers, support each other at work, and learn from each other. In dialog with some of the early members, I realized how much women in science and technology have in common with writers. Like women who give up after their writing is rejected, women will not apply for a job if they don’t get it on the first attempt. An internal report at Hewlett Packard, which was widely publicized through books like Sheryl Sandberg’s Lean In, showed that women wait until they’re 100 percent qualified for a position (men apply when they are 60 percent qualified) before they apply. I realized many of us were suffering from imposter syndrome and self-doubt. One of my favorite parts of Women Who Submit is the submission party: a coworking space where when someone sends a piece of writing off to a journal, everyone in the room cheers. It helps us associate positivity with the normally nerve-wracking process of sending our work into the world, and also gives us control of when and how we submit. I decided we needed something similar at JPL. I loved that submitting work had become something to brag about, as had rejections (the WWS monthly submission brag is a comment board where members can share their latest rejections for support). So, in one of our early Women in Tech meetings, we asked anyone who had taken a risk in their career to stand up. A risk could be applying for a new job, sending a paper in for a conference or peer-reviewed journal, or having a talk with your manager about your career. When the risk-takers stood up, we applauded. This was a huge success, and at our next meeting women wanted to share what kind of risk they took. After that we spent time hearing about what women were doing and celebrating their bravery. They can’t control whether they get a job or whether their paper gets accepted in a peer-reviewed journal, but they can control whether or not they try. 

Soon women were approaching me at work to introduce themselves and tell me about a risk they took because they heard other women’s stories. Women were applying to be conference chairs, to be part of big initiatives in their field, and were starting to stand up for each other in meetings when they felt like another woman’s voice wasn’t being heard. We were encouraging each other to be brave. 

We also introduced the idea of giving a shout-out to anyone who had done something as an advocate or ally. Maybe they stood up for your ideas in a meeting. Maybe they pushed you to apply for a role you didn’t think about going for yourself. We also started peer-to-peer training on impostor syndrome, negotiating for yourself, and tips for applying for jobs within JPL. 

Now, three years after starting, we have 350 members who are supporting each other, building each other up, and connecting with mentors. When the pandemic hit, we moved to virtual meetings. We now have anywhere from 75-250 people on our calls. And they aren’t just women. We are also open to non-binary professionals and to any men who want to be allies. Even when we are alone in our homes working, we know we have colleagues who have our backs and who are there to lend an ear or give advice. New employees are building their networks and finding friends through our community. 

As for me, I know I will stick it out in this field. This year I celebrated my 25th anniversary working at JPL. I am still writing too. I’m sending work out, both fiction and nonfiction. I have learned to celebrate my successes and my failures. I have my confidence back and I owe it to all the amazing women in my life, both in Women Who Submit and Women in Tech. I am grateful for Women Who Submit for providing this model of how to build supportive communities that believe in a tide that raises all ships. Together we thrive.

Women writer with two tone hair and a teal shirt in front of a light colored wall

Daria E. Topousis is a prose writer and a software project manager at the Jet Propulsion Laboratory. In 2020 she received the Equal Opportunity Medal, a NASA Honor Award, for her work building Women in Tech. 

This work was done as a private venture and not in the author’s capacity as an employee of the Jet Propulsion Laboratory, California Institute of Technology. The content has not been approved or adopted by NASA, JPL, or the California Institute of Technology. Any views and opinions expressed herein do not necessarily state or reflect those of NASA, JPL, or the California Institute of Technology.

I’m a Writing Conference/Workshop Junkie

Two women on a workshop panel face a workshop group, presenting A Crash Course in Literary Submissions

by Tisha Reichle

I don’t know if it’s being surrounded by the energy of other writers or pretending for a week, a few days, an afternoon, that I’m a student again, but I sit dutifully in the hotel ballroom chair or at a classroom table or around the cozy fireplace with a view of nearby nature, and listen carefully, take notes, ask thoughtful questions, and offer my insight when appropriate. In 2015-2016, I attended more than ten different conferences and workshops, traveled to seven cities, and spent a lot of my teacher salary. Various notebooks strewn about my apartment and a pile of receipts can attest to this. The experience thrills me every time and after each one, I’m eager for the next.

There are many writing conferences and workshops to choose from in the US and abroad. Which one is “the best” depends on your needs as a writer, your budget, and your desire for distance (or not). I usually looked for conferences/workshops in summer when I wasn’t teaching, in places I love (like New Mexico), where a writer I admire is an instructor, or a topic I’m passionate about is the focus. This strategy led me to my first workshop, Flight of the Mind, in 1995 in Eugene, Oregon with Helena Maria Viramontes. Continue reading “I’m a Writing Conference/Workshop Junkie”

Goodwill and Gratitude: Twelve Years with Poets & Writers

13 writers sit around four folding tables fit together, facing the camera, smiling

by Jamie Asaye FitzGerald

For the last twelve years, I’ve worked for Poets & Writers, Inc. Founded by Galen Williams in New York City in 1970, and guided for over thirty years by the steady hand of executive director Elliot Figman, P&W is the nation’s largest nonprofit organization serving creative writers. Its mission is to foster the professional development of poets and writers, to promote communication throughout the literary community, and to help create an environment in which literature can be appreciated by the widest possible public.

I was hired as a program assistant in 2005, and have directed the California branch office of P&W and its Readings & Workshops (West) grant program for the past three years with the help of program coordinator and fellow poet Brandi M. Spaethe. I didn’t understand at the beginning how foundational the organization’s mission and key values of service, inclusivity, integrity, and excellence were, but over the years these tenets have seeped into my bones and informed my work and my life. I consider my time at P&W as post-post-graduate work—my unofficial PhD in literary community.

Continue reading “Goodwill and Gratitude: Twelve Years with Poets & Writers”

A WWS PUBLICATION ROUND UP FOR MARCH

A laptop computer with an article titled "Submissions Made Simple" on the screen and a stack of literary journals sits on top of the laptop base, titles facing out

Congratulations to all the Women Who Submit who have had work published in March!

From “The Iridescence of Our Sins” by Ashley Perez at Lost Balloon:

The children appear from the edges. Their faces set. Their bodies are covered in iridescent powders that shimmer in hues that could only be seen in dreams. We have been gathered in the square to wait. Our kin have been gathered to watch. The children walk around us in a pack, sniffing, running towards us and back again to their circle. Worn, brown leather pouches hang around their necks, swaying with their movement.

From Lisbeth Coiman‘s “Abundance Guilt” at Nailed:

Along the wide corridors of the wholesale store, I look for the basic ingredient of my favorite dish, Pabellón Criollo. Flank steak is a piece of lean meat that once cooked can be shredded like strands of yarn. The refrigerators burst with a large variety of large meat cuts. My shopping cart bumps into others. The shoppers mutter apologies; try samples of hot tamales, Italian sausage, and Indian curry. Hips of fresh fruits and vegetables seem to smile from across the vast space. It’s almost repugnant to see so much food. Continue reading “A WWS PUBLICATION ROUND UP FOR MARCH”

Submitting on a Budget: Network

by Lisbeth Coiman

Where writing has become a self-employment enterprise, tracking expenses is vital for the emergent writer struggling to build her brand. Conferences, books, subscriptions, writing courses, memberships, tracking sites, and submission fees all add up quickly to a limited writing budget.

Arguably, artists can create great work without ever attending conferences, reading peers’ books, or participating in workshops, but writing great pieces is only one step in the process of getting published. Unless the emergent writer enjoys the benefit of a well-connected literary circle, a consistent flow of submissions to literary journals, contests, and online magazines is the only road to publication. Gaining access to information about submission calls takes up most of the money set aside to submit work. For that reason, submitting to publications on a regular basis on a shoestring requires a well thought submission plan.

Continue reading “Submitting on a Budget: Network”

Embrace Your Ignorance and Just Get Started (again)

by Rachel Sona Reed

The best part about having to repeat Algebra in high school was the amount of class time it gave me to write fiction. I had been doing this since 4th grade, using interstitial moments gained by finishing work early to scribble the stories, scenes, and sentences bubbling up into my consciousness before they spilled out of my brain and evaporated.

Like the tragedy that follows any bout of hubris, these epiphany-fueled, frantic (epi-frantic?) creative outbursts struck less and less, until writing became “something I used to do.” By college, my fiction, much like reading for pleasure, seemed to have officially left my life. My irrepressible urge to write hibernated so I could allocate energy to more intense academic work. Xanga, LiveJournal, and the many blogging platforms that have come since also played a role in redirecting my creativity away from its first love: fiction.

In truth, the structure of my life had changed, and I hadn’t realized that meant my writing practice needed to change with it. There were no more free moments in class to indulge my imagination. I’d have to find the time elsewhere.

Time presented itself in the purgatory between graduate school and a viable career path. I started a novella, and a personal research project. The creative parts of my brain began to stir, but were soon diverted toward volunteer, and later full-time work for nonprofits. This was certainly fulfilling in its own way. I was valued for my ability to turn a phrase and get our press releases reprinted in local papers. But I missed being overcome with an idea; I missed my inner 4th grader.

About a year ago, I decided missing my former hobby compulsion wasn’t enough. I would have to start thinking of it as a serious pursuit and give it the time it needed. Especially since I aspired to publication. The only problem was how to begin. There was so much to know, and by this time I was 30.

I want to pause here and reiterate some advice I’ve heard from many other writers; advice that’s applicable to life in general: have your own definition of success, and pursue your own goals. Otherwise, we waste far too much time comparing ourselves to incomparable colleagues. We are the only versions of ourselves, so we may as well embrace this reality and aspire to our unique manifestations of awesomeness!

At this point, my writing goals were amorphous, and my definition of success was broad: I wanted to publish my writing, whatever type of writing it ended up being. Because WWS excels at supporting women who target literary publication, I’ll focus on resources that have aided that aspect of my journey from uber-newb to the ever-abundant “emerging writer.”

Writing Groups

Starting out with, I knew I would have to pick something among the overwhelming variety of paths and resources–many of which I couldn’t even see–or remain a paralyzed non-writer. So I decided joining a local writing group would be my first move. Ideally, this would provide an external pressure to keep me accountable to my own goal of producing creative writing.

Meetup.com was a helpful resource to learn which groups were nearby, and after participating in a few of them and meeting people, I settled into the one that felt best. Everyone is working on different types of projects, but we share the common goal of supporting one another by providing thoughtful feedback. One thing I learned through the process is we don’t always find the right group at first, and what constitutes the “right group” might change over time.

Conferences

A month or so after dipping my proverbial quill into the world of feedback groups, I learned about BinderCon. On a whim, I decided to volunteer and thereby attended my first writing conference. It was a revelation. The rooms were filled with intelligent, successful, confident writers, none of whom were men. Panels and workshops discussed revolutionizing literary representation, finding and asserting one’s expertise, and so much more. It was inspiring to meet and learn from women who were making a career of writing. Publication was possible!

I’ve found conferences to be a good way to open myself to new ideas, meet interesting people, and learn practical tips about the industry I’m just beginning to navigate. If a conference provides volunteer opportunities, this is often a way to secure a free or discount ticket without having to be on a panel. You might miss a session or two during your volunteer shift, but attending is still valuable.

Women Who Submit

I’d be remiss if I didn’t mention the many ways that Women Who Submit and its members have paved the way for my little creative renaissance. As it happens, I learned about WWS at a happy hour meetup held a few months after BinderCon. I had carpooled with a woman named Jenny, who organizes the San Gabriel Valley Women Writers group and is far more outgoing than I am. She started chatting with WWS organizers, Tisha Reichle and Xochitl-Julisa Bermejo, who soon shared the work they were doing with WWS. Jenny asked them to speak at an upcoming meeting, and that’s where I first felt the swell of I could do this, too course through my consciousness. Thanks to their presentation, the mystery of it all wasn’t quite as inscrutable.

A few months later, I attended an actual WWS submission party and was treated to the official orientation. Tisha and Xochitl provided concrete submission tips, insider information about the world of literary journals, and a cover letter template I could actually follow. They made the submission process both comprehensible and accessible. Tammy Delatorre’s presentation at February’s meeting resulted in my very own manageable contest submission plan. All the members of WWS I’ve met have instilled confidence by being themselves and putting their writing into the world. Everyone has their own goals and methods, but once a month they come together and form an unstoppable force of collective awesomeness.

Online Resources

Websites like The Review Review, Poets & Writers, The Write Life, and Write On Sisters, to name a tiny fraction of what’s available, offer strategies and tips about the writing process, the business side of things, and available markets for our writing. I keep a folder of bookmarks just for writing-related websites that I can check in with as needed.

An alternative to websites are podcasts, which provide similar information in a different format. Plus interviews with interesting people! I’m partial to Ditch Diggers, Longform, and The Other Stories (again, to name but a few of the myriad options available).

Creative Revolution webinars, hosted by Leigh Shulman and Jeannie Mark, helped me discover my writing goals and formulate a business plan. It’s one of those “living documents” that you can use as a guide and modify as your life and goals change.
Applying all the tips and philosophies gained through online resources is always the tricky part, but knowing where to find some of them has been invaluable.

Classes

Like thousands of people around the world (this sounds like hyperbole, but I assure you it is not) I signed up for the University of Iowa MOOC last October. It offered message boards to connect with other students, peer feedback on writing assignments, and video lectures from published authors. An ostensibly great opportunity! Unfortunately, I stopped checking in half-way through and stopped completing assignments even earlier, learning the valuable lesson that online courses are not my optimal educational environment.

Much more effective has been a UCLA Extension course on Creative Non-Fiction. It meets in a physical classroom with a real, live instructor. (The future is the past, people.) What’s more, the class has opened my to the possibility of writing in that vast genre, and has resulted in several essays I’m shopping around. In sum, being a writer means I get to be one of my favorite things at the same time: a student.
Embracing Ignorance as an Opportunity to Learn

Some of my biggest hang-ups have to do with the often insurmountable mountain of my own ignorance. How does the publishing industry work? What genre should I focus on? Should I be networking more? The best way to overcome this, I’ve found, is to embrace my ignorance—of course you don’t know anything yet; you’re new to this!—and just do something. Anything. Doesn’t matter. And above all, write.

My definition of success evolves as I learn more about the many genres, publications, and industry machinations. But having a group of peers who offer mutual support, alternative perspectives, and connections to resources has remained a necessary constant. That’s what’s so wonderful about Women Who Submit.

I still don’t know what I’m doing much of the time, but I’m getting better at celebrating my small triumphs as I learn bits and pieces of what it takes to be a working writer who aspires to publication. When I can, I remind myself that I’m in a learning stage, and will likely remain here for the rest of my career. There’s always something different to delve into, after all. So I try to enjoy the process as much as possible. I seek out new resources, push past my shyness to meet other writers, and every so often work up the courage to submit.

Taped above my desk is a motivational phrase I came up with to remind myself how easy it can be to get started: Conditions don’t have to be right to just write. Some days I even take my own advice. And on days I can’t see it through the self-doubt, I try not to beat myself up about it. Small steps. Incremental progress. My destination may be unknown at times, but I’ll get there, wherever it is, and so will you.


Final Note: I’m pleased to report that I composed the first few paragraphs of this post in my head while I was driving the Arroyo Seco Parkway back from my UCLA extension class. My inner 4th grader is alive and well.


d9f1c19a-a9de-4f11-89a2-0f7a7d5e920bRachel Sona Reed left her job last fall to pursue freelance writing full-time. She is still discovering what genre(s) she should focus on, but as of this posting she writes grants for local non-profits, fiction, mediocre poetry, and creative non-fiction. Her work has appeared in Angels Flight • literary west, Hello Giggles, and Rose City Sisters, among others you probably haven’t heard of. You can read her more fanciful fiction at tinyletter.com/lostisfound. She has been blogging at contemporarycontempt.com since 2011, and no you may not read her livejournal.

Twitter: @seriousrachel

Awareness into Action

by Ramona Pilar

For many artists, creation takes the form of protest. They are tasked, chosen, or ignited somehow to use their mode of expression to make sense of incongruity/injustice and provide individual solutions to inherent systemic challenges, obstacles that became embedded into the status quo long before any of us were alive.

1929744_10153372888831902_5570134277034483176_n

Jesse Bliss, educator, writer, and activist, created the chapbook I Love Myself Golden to, in her words, “cultivate self-love and respect in the young women she encounters in the [juvenile] halls.” Bliss has been leading creative writing workshops within the juvenile hall system in Los Angeles for upwards of 10 years. Through her experiences she became impassioned and has since dedicated her work as an artist  to advocate against the Prison Industrial Complex. She was compelled to create this book to address young, incarcerated women who are, in this society, of the most invisible and vulnerable populations.

The book itself was created as the result of a workshop series she developed through InsideOUT Writers and was supported with a grant from Poets & Writers. It is intended as “a love letter, speaking piercingly to all young women in and outside of physical bars.”

Through the years of working with this community and hearing the girls ask questions such as how to give birth, Bliss was moved to create something to give to them,  but she didn’t know exactly what. “What to Expect When You’re Expecting… [would be] totally insulting to them. That’s for upper and middle class people.” Bliss drew on her experience creating chapbooks through her creative writing class at Inner City Arts to craft I Love Myself Golden for this one, specific demographic. “Because it’s been in my heart for so many years, I already [knew] what it should look like… I feel like a lot of us don’t do these types of things because there’s no time, there’s no money. So my first thought was, ‘How can I make this succinct, and how can I make it to size for them, and who can I find that can illustrate it that will really appeal to these girls?’”

Enter Alfie Ebojo, aka Alfie Numeric, a brilliant artist and writer based in the Los Angeles area. Her artwork has a surreal whimsical aesthetic overlying a weighted gravitas in the subject and composition, reminiscent of Mark Ryden and Margaret Keane. “There’s beauty and pain coupled together [in her work]… There’s young women of color… expressing their pain in a way that also shows strength and beauty…”

IMG_4406 “’For the strength of the Pack is the Wolf, and the strength of the Wolf is the Pack.’ A head nod to Rudyard.” – 2011 Acrylics on wood

While the initial aim of the chapbook was inspired by the young women who had questions around motherhood (some of whom were soon to be new mothers themselves), the scope expanded. “I realized it couldn’t just be for those girls; it had to be for all the girls because they were all susceptible to the same circumstance, of pregnancy…it was all connected. It was not separate. The same things needed to be said to the girls who were not pregnant…I feel like all young women in our society are targeted to think and believe that we’re not worth anything because it’s a big money maker: ‘You’re not pretty enough. Your size isn’t right…’ By empowering girls, they’re taught that there’s other options.”

The Roots and Wings Project, founded by Bliss, is a “politically charged, socially transformative theatre company that brings attention to truth and provides stage and space for stories of the unnamed, unspoken and misunderstood through theatrical innovation and multi-media collaboration.” Having written and produced theater for most of her career, this chapbook marks an expansion to other forms of writing. “Theater is my #1 vantage point as an artist, but I’ve always written poetry…Since the time my daughter’s been born, I’ve been noticing that I really should let my work live on the page…and [let other forms of writing] open up a new world for me.”

Bliss, along with partner Peter Woods and publisher Mark Gonzalez have organized an event inspired by the chapbook, which is not so much a chapbook release as it is a platform for “elevation, transformation, conversation,” with the book itself as a catalyst. The event will be held at Espacio 1839, a collectively-run boutique, art gallery and radio station located down the street from Central Juvenile Hall, where some of the workshops took place.

12507332_10153912954873804_9153234847305685064_n

Activism and self-determination can have a wide breadth of incarnations; some manifestations emerge in the form of dedicated, tenacious protest. Some inspire individuals to take on the vocation of creation, conjuring, crafting and bringing into existence the very needed thing that hadn’t yet materialized, that was waiting for that one particular voice and vessel to bring into this realm. Hechiceras and hechiceros del arte, mediums who produce the work that affects, inspires, ignites and heals.


953012fc-9c9a-4fd6-a657-4393b5e68787

Ramona Pilar is a writer, performer, emotional fluffer and native Californian. She is currently working on a collection of essays entitled “Darth Vader Abandoned his Daughter and Other Thoughts Along The Heroine’s Journey.” She can occasionally be found troubadouring with her band The Raveens.

 

 

Jesse Bliss is a playwright, director, producer, actress, poet and veteran arts educator with her work produced around the world at venues such as the United Nations, Edinburgh Festival, Lincoln Heights Jail, S.P.A.R.C at the Old Jail in Venice, The Last Bookstore, The Rosenthal Theater at Inner-City Arts, Casa 0101 Theater, Theatre of Note, Occidental College, UCSC, UCLA, and California Institute of Integral Studies to name a few. She has taught and created curriculum for Center Theatre Group, The Geffen, Inner-City Arts, Unusual Suspects, J.U.I.C.E. and Inside OUT Writers among others. She is a featured artist in Kate Crash’s LA WOMEN and in Yahoo News’ SHINE Documentaries. Ms. Bliss is a grant recipient from the Flourish Foundation and recently from POETS and WRITERS for writing workshops for incarcerated girls inspiring her chapbook I LOVE MYSELF GOLDEN. Jesse is Co-Producer of KPFK 90.7’s THINK OUTSIDE THE CAGE. She is Founder and Artistic Director of The Roots and Wings Project. www.therootsandwingsproject.com.