From left to right: Mikayla Ruppe, Natalie Lim, Chimedum Ohaegbu and Stephanie Chang
Interview by Isabella Wang
As a young writer, there is nothing I love more than being out there in the community. Sometimes, that community is built among young, up-and-coming writers like myself, and I have had the pleasure of interviewing some of them on process, mentorship, inspiration, and more. Writing is a process as much as it is a collaboration. That means engaging with different writers and their dogs. That means uplifting each other, making space so that necessary conversations can occur.
Mikayla Ruppe, a long-time intern and volunteer with The New Quarterly, is currently majoring in English at the University of Waterloo. Natalie Lim, winner of the CBC Poetry Prize, is completing her double major in Communications and English at Simon Fraser University. Chimedum Ohaegbu is the assistant editor at Uncanny Magazine, and is pursuing a dual degree in English and Creative Writing at UBC. At 16, Stephanie Chang is a young poet from Richmond BC, who is a writer for Her Culture’s digital magazine and has dozens of publications and awards to her name.
Isabella Wang: Hi lovely folks! I’m so glad to be joining you in this space today. First off, tell us about yourself. How did you come to writing?
Mikayla Ruppe: Hi Isabella! I’m so excited to be here with you! Writing has always been something that interested me. I don’t remember a moment when I didn’t know how to read, and my mom would write down my stories for me until I learned how to write them myself. I don’t remember there being one specific time where I said to myself, “this is what I want to do with my life.” I just knew that I was meant to pursue some kind of career that involved books and writing.
Natalie Lim: Thank you for having me! I’m honoured to be participating with so many phenomenal writers. I was thrust into the CanLit writing community when my poem Arrhythmia won the CBC Poetry Prize last year. Although that was the first time I’ve ever submitted my work for publication, I’ve loved writing and storytelling my whole life. My first encounter with spoken word poetry in high school opened up the world of poetry to me, and I’ve been writing ever since.
Chimedum Ohaegbu: Hi, Isabella. Grateful to be among this group! I have two origin stories about writing, which is the opposite meaning of ‘origin,’ but alas. The first involves a turkey. The better one involves the cause of a wicked scar: when I was thirteen my spine revolted, curving itself into an S for ‘scoliosis’. This meant surgery—I can no longer slouch—and a month recovering at home, during which I finished a 10,000-word story that was chosen for publication on a kids’ site. The work of writing and editing kept me company in a difficult time and hooked me forever after.
Stephanie Chang: Hello! I’m a high school student and writer who frequently loses track of time when writing. I currently write for Her Culture Magazine and previously attended The Adroit Journal Summer Mentorship Program last summer, a free online program that I highly encourage other young writers to apply to. When did I know this was something I wanted to do? It just sort of dawned on me that I could share my writing and gain the amazing experience of meeting other literary wordsmiths. I realized I might continue writing and submitting my work as a way of pushing my creative limits as an artist and learn more about myself and the world around me. To be honest, my work has never received glances from eyes that weren’t my own—I never felt ready or inclined to share my writing with others during my middle school years. That being said, I did start reading a wider range of authors and taking my craft more seriously the summer after Grade 9, where I began reading and submitting to various literary magazines.
IW: I’d love to hear more about your writing. What are you currently working on? What are some themes that occupy your work?
MR: I am currently writing poetry on a regular basis. I am also slowly working on a personal essay about mental illness and the impact it has had on me throughout my life, particularly in the last year. Mental health is definitely something that I want to write about more. The stigma is still prominent, and I want to help erase it. Also, I would love to someday write about issues surrounding gender, sexuality and disability. These are all topics that I have a personal connection to and I want to educate others about their impact.
NL: I’m currently working on several poems that I hope to publish this year! The world of publishing and literary journals is new to me, so I’m taking it slow and trying to find my footing in this space.
My poem Arrhythmia revolves around several themes I’ve rarely seen represented in literature: how the children of immigrants can lose hold of our language and culture, how this process is rooted in history, and how it shapes our identity. As a third generation Chinese-Canadian who doesn’t speak Chinese, I’ve been grappling with these questions, and Arrhythmia was my way of trying to work through them.
CO: I’m writing poems about ghosts and goodbyes, a show about a needy neon hellscape, and a story about fungi and goddesses after the end of the world, when things grow quieter. Loneliness is a theme I circle. I’m also fascinated by the line between fiction and falsehood, and who tells what stories and how. Unusual narrators spitting stories from oblique angles have been big with me recently.
SC: My main project at the moment is a chapbook of poems. I can’t say much more than that, as it’s still in quite the early stages of writing and school has started to take its toll on me, leaving little time to work on it. I am excited about it, however, and cannot wait to share more details!
On the idea of themes, I think my writing embodies a kind of dreamy recollection of memory and/or abstract confession. Common images are fruits, girlhood in the summertime, flowers, and a few religious symbols—often twisted and turned upon one another to form different variations of the same concept. These are the things that come to mind when I’m writing, at least! In a more concrete sense, however, I try to address my experiences and identity in ways that are meaningful to me personally, but that can also translate and reflect the truths others know—whether I write about topics in a political or artistic sense.
Recently, I was named a runner-up for the Patricia Grodd Poetry Prize, hosted and run by The Kenyon Review, a literary journal that is no doubt a personal favorite. I am incredibly honored to have received a partial scholarship as a result, and will hopefully be attending the Kenyon Young Writers Workshop this summer as it’s been a dream of mine for quite some time!
IW: Talk us through your writing process.
MR: As soon as something inspires me, I write about it. My phone notes and laptop are filled with random bits of poetry, and I have a notebook that I bring with me everywhere I go. For essays, both academic and otherwise, I think it’s important to write everything down first before going back and editing it. My writing is heavily based on my personal feelings, and often it is more therapeutic than anything.
NL: I have a ridiculously long list of ideas saved on my phone, and I add to it whenever one of my experiences sparks an image that I can imagine becoming a poem one day. When I sit down to write, the first thing I do is pull up that list and think about which entries are resonating with me in the moment. After I settle on a touchstone, the first draft of a poem usually follows quickly. However, I’ve found that my best work comes from letting those drafts sit around for a while, then editing them like crazy.
CO: I wake up at six, put the piano version of ‘Eternal Harvest’ from Final Fantasy IX on loop, and write for a couple hours before class…Kidding!—though that was my process when I was fourteen. Nowadays I write right before bed, and also from 3:00-5:00 pm Mondays and Fridays, as part of a writing group or club I run. Usually I’ll have a great idea for an opening, but I tend to need an injection of anger and one of strangeness before I’m propelled through a piece and start sleeping in the small hours.
SC: My writing process tends to be quite messy from start to finish. I pick up on inklings of inspiration from books, media, film, and tidbits of my everyday life. I’ll usually start out with an image or hazy concept of a story and work my way from there. Most of my poems, as you may have noticed, shift in and out of the abstract, and I often find myself grappling with the intersection of memory and a poem’s reimagined scene.
I think my writing process is less focused on form than it is on truth. In poetry, truth can be twisted. It can be avoided, overpowering, even too delicate to touch. In that way, my approach differs depending on the subject and purpose of a poem—sometimes everything trickles out far too easily. Other times, a poem leaves me breathless, travelling at the speed of sound in the dark. It’s difficult for me to describe the process which is as well, a process. I think it’s about the little things, noticing the angle of the light only in the aftermath. Trying to reframe a crumbling painting, or confess to crimes against identity.
My writing process is as much an introspective activity as it is a storytelling exercise. And that’s partly why it tends to vary so immensely from poem to poem—there are demands that must be met for every intention I slip into my words. Half the poem might be spent searching for those, the other half left spending what on earth you just created!
IW: Aside from your own writing, each of you are doing important work in the community as well. What are some things that you are involved in? How you came to find those communities, and what that means for you?
MR: I started working at The New Quarterly as an intern through a program at my high school, and I was eventually hired for two summers as a full-time circulation assistant. I have also been volunteering at their annual Wild Writers Festival for three years and counting.
By the end of my first summer at TNQ, I was offering to volunteer for them at as many literary festivals as I could, including the Eden Mills Writers’ Festival and Word on the Street Toronto. I feel like this really shows how much TNQ has fuelled my literary passion because working in heavily customer-centred environments like these usually terrifies me, but with TNQ I didn’t even think, I just went for it!
TNQ gave me a sense of true belonging that I had never experienced before. There were (and still are) times when I reflect back on everything that I’ve done since I started there, and I think about how incredibly amazing it felt to work in this environment every day.
NL: As someone who’s new to the community, I’ve mostly been hanging back and getting a feel for thing. For me, this means reading a lot, attending local readings, and volunteering at Growing Room 2019, a local feminist literary festival. I’ve also been lucky enough to do several readings of my own, which has been both terrifying and super fun.
That being said, after I won the Poetry Prize, I felt so much love from the CanLit community—people were incredibly generous in reaching out to say that they liked my work. I’m excited to continue connecting with writers and artists during my Banff residency in late May, and to continue exploring the landscape of CanLit.
CO: I am the assistant editor with Uncanny, all thanks to the library. I was a shelver and listened to Uncanny’s podcast at work. When I heard on the podcast that it was the last day to apply for its editorial internship, I screeched! I applied in a froth of !!!!!ɥsobʎɯɥo!!!!! and waited sweatily for the news, hoping. Now, as their (less sweaty) assistant editor, I copyedit, promote, make graphics, write the newsletter, cheerlead stories I LOVE, and learn voraciously.
I’m involved in the UBC-specific writing community as the president of the UBC Writers’ Guild, the co-editor-in-chief of the English department’s undergrad journal, a staff writer for the campus newspaper, and an editor with the International Relations’ department’s photojournal. This year I’m a judge for The Ubyssey’s second sci-fi competition, which I’m extremely excited for! I also volunteer as a writing tutor with UBC’s Humanities 101 program.
SC: This past year, I gave a talk discussing introversion and the art of public speaking, two things I hold dearly to myself as a person. I wanted to convey a sense of understanding to fellow introverts who feared standing up to speak in front of an audience. At the same time, I wanted to express my passion for public speaking and the ways in which quieter individuals can seize the opportunity to make use of their natural strengths, embracing the chance to share messages they believe strongly in. Public speaking has given me countless opportunities and experiences, including those in debate and Model UN, which I see as not so different from writing in that new challenges are always asking to be conquered.
The friendships I’ve made through those communities have enabled me to improve as a writer, funnily enough. The people and memories there enabled me to grow in confidence, encouraging me to use my voice (whether audible or on paper) to say what I’ve been wholeheartedly desiring to say.
IW: Where do you turn to for inspiration? What are some titles that you return to time after time? Other writers that have had an influence on you?
MR: I have been trying to read as much work from Canadian authors as I possibly can. There are so many amazing writers who have been introduced to me through TNQ. I have also been reading more pieces from LGBTQ+ writers, because it feels good to read about other people’s thoughts and experiences that are similar to my own.
I am influenced in some way by everything I read, but some writers that have definitely made a positive impact on me recently are Eden Robinson, Ivan Coyote, Pamela Mulloy, Carrie Snyder, and you! As for favourite books, I am constantly re-reading Florence Welch’s collection of lyrics and poetry, Useless Magic. It showed me that poetry can be messy and beautiful at the same time.
NL: When I need to be inspired, I often return to my old spoken word YouTube rabbit holes. Sarah Kay, Rudy Francisco, Shane Koyczan, Sierra DeMulder and others have informed my work in ways I will probably never be able to articulate. (Fun fact: “Arrhythmia” was inspired in part by Alice Frederick’s beautiful spoken word poem, Mirrors.)
I’ve been doing my best to play CanLit catch-up over the past few months, so I’m working my way through a lot of Canadian books at the moment, including David Chariandy’s Brother and Alicia Elliott’s A Mind Spread Out on the Ground.
CO: I’m inspired by art and weird historical/biological facts that I find whenever I lose myself on the Internet. (Did you know: there’s a tree that owns itself? Did you know: monarch butterflies remember a mountain that doesn’t exist anymore?). Also, overthinking common tropes and expressions leads me in a lot of different directions.
Horror and fabulistic works stick to me—I think they allow for a fascinating juxtaposition of gorgeousness and gore. My favourite writers are Shirley Jackson, Carmen Maria Machado, Alice Sola Kim, Cassandra Khaw, and Rivers Solomon.
SC: When lacking inspiration, I often take the opportunity to turn my attention to others things. Whether that’s homework or caring for my plants, I try not to search for things to write about, but to enjoy everything outside writing as a means of inspiration. In my opinion, anything can lead to inspiration, from visiting art galleries to simply people-watching at a busy downtown intersection.
Some of my favorite writers include Ocean Vuong, Paige Lewis, Topaz Winters, Leila Chatti, Kristin Chang, and Chen Chen, all of whom I repeatedly return to for inspiration and adoration of their work as writers.
IW: Speaking of influences, who were the people that helped you get here? Give them a heartfelt shoutout, if you will.
MR: I would not be on this pathway without my parents, who encouraged my love of reading and passion for words since I was two years old. I am so grateful to everyone at The New Quarterly, especially my mentor, Sophie, for helping me feel welcome in the literary community. They have helped shape me into the person I am today, and I don’t know who I’d be without them. As well, my wonderful girlfriend has been a constant source of support for me—for my growth as a writer and as a person—and I am beyond thankful for her presence in my life.
NL: I love this question! Endless thanks to my family, who have always been supportive of my writing. I’m also indebted to the Simon Fraser University English department—in particular, Dr. Stephen Collis, whose feedback shaped “Arrhythmia” into the poem it is today, and Dr. Michael Everton, who teaches me something new every time we talk. Thanks to all the friends I’ve trusted with my writing over the years, especially Tina and Jasper. And thanks to you, Isabella, for this opportunity and for your continuous advocacy on behalf of emerging writers.
CO: Enormous thanks to my supportive siblings and parents, all my friends especially Neenu, Helen, Brianna, Isabella (that’s you!), Yilin, Sasha, Angela, Amanda, and Shivangi, the team at Uncanny — especially Michael and Lynne, and particularly Michi — and community members/initiatives like Candie Tanaka, K.C. Dyer at the Surrey International Writers Conference, The Future is you and me, and Wordfest. Lastly, in August 2018, I sold my first story and the post went viral! Many extended congratulations, and I got to relay the publicity to others’ work: so thanks to the hundreds of sweet strangers.
SC: My early time in publishing was supported mostly by my mom who, despite complaining about the overly cryptic and abstract nature of my poems, was simply content knowing that my work was somewhere out there, being read and perhaps understood by others. Later, after discovering a community with young writers on spaces like Twitter and youth literary magazines, I found the epitome of community with The Adroit Journal Summer Mentorship Program. The like-minded teens I met were both my peer editors and supporters, and Peter LaBerge, editor-in-chief of The Adroit Journal, never ceased to guide all of us in improving as writers. During the program, I worked with the amazing Victoria Chang, who served as my mentor. There are no words to describe just how great this experience waa. Above all, I’m so glad to have received her help when workshopping poems!
IW: I want to give each of you the space to reflect on your past writing experiences. What are some struggles or setbacks that you’ve had to face?
MR: I am my biggest setback—my anxiety has prevented me from submitting my work to any publications as of yet, but I’m working hard to push past the barrier. I have gotten to the point where I would stare at the “Submit” button on a literary journal’s website and almost decide to press it, but at the last second my anxiety would get in the way and tell me that I’m not good enough, or that I don’t have a very important story to tell. However, I am definitely more confident in myself than I was two years ago, thanks to this amazing community that I have become part of.
NL: I kept my writing fairly private until last year, so most of the writing-related struggles I’ve encountered have cropped up recently. Winning the Prize came with a decent dose of imposter syndrome. I’ve also found myself feeling like I have to “live up” to the award— like every poem I write from now on has to be an “Arrhythmia.” Some days I wonder if that’s the only noteworthy poem I’ll ever write, or if I should quit while I’m ahead.
Thankfully, I have lots of friends who have convinced me to keep writing anyway—honestly, I’m not sure I could stop even if I wanted to—so I’m going to do that and see what happens.
CO: In high school, I went through a two-and-a-half-year long writer’s block, couldn’t finish even the tragically few things I started. I’ve always been very inward-facing, and was even more so back then. If I asked for help, it was only through Google.
I fixed this by reading more than ever, like—if I can’t produce work, I may as well enjoy it harder. The thing about reading as a writer, though, is that you will get inspired. So that was one of the most omnivorous times, literature-wise, of my life.
SC: For sure. As a writer, rejection is part of the process needed to improve. There have certainly been times, however, when it’s felt like rejection was all there was to projects I worked incredibly hard on, and I know other writers can attest to this sentiment as well. In the beginning, rejection seemed like less of an enemy and more like an inevitable reality. And because it’s just that, I think having a network for support is vital to persevering as a writer. Occasionally, returning to edit a poem for what feels like the thousandth time may feel like a discouraging thought, but I also think it’s important that at that stage, reflecting on one’s identity as a writer not being defined by a couple of rejections is significant.
IW: Lastly, what are you most looking forward to?
MR: I am looking forward to reading more books and attending lots of literary festivals and events across Canada as I continue with my university career!
NL: Right now, I’m looking forward to the future in general: life after university, walking through some of the doors that winning the Prize has opened up for me, and lots of writing, of course!
CO: I’m looking forward to being a panellist at Norwescon in April and to a summer of reading and writing!
SC: Definitely exploring new forms! I’m currently polishing up a few sestinas and I do want to delve into a bit of sonnet writing.
Mikayla Ruppe is a second-year English major at St. Jerome’s University (affiliated with the University of Waterloo). She is a long-time intern and volunteer with The New Quarterly, and also volunteers at Imprint, the University of Waterloo’s student-run newspaper. She loves writing poetry, drinking coffee and listening to her record collection. Mikayla lives in Waterloo, ON, and is hoping to travel to BC for graduate studies in the future.
Instagram: @mikayla_virginia
Natalie Lim is a Chinese-Canadian writer based in Vancouver, B.C, currently completing her double major in Communications and English at Simon Fraser University. She was the winner of the 2018 CBC Poetry Prize for “Arrhythmia,” her first published work; she also has poems published or forthcoming in Honey & Lime Lit and PRISM international. More than anything, she loves stories — whether told through a book, podcast, or video game — and she hopes to keep writing them for the rest of her life. You can find her on Twitter at @nataliemlim.
Chimedum Ohaegbu attends the University of British Columbia in pursuit of hummingbirds and a dual degree in English literature and creative writing. She’s Uncanny Magazine’s assistant editor and a recipient of both the full 2017 Tan Seagull Scholarship for Young Writers and a 2018 Katherine Brearley Arts Scholarship. She loves tisanes, insect facts but not insects, every single bird and magpies especially, and orchestral music. Her fondness of bad puns has miraculously not prevented her work from being published or forthcoming in Strange Horizons, This Magazine, SAD Magazine, Honey & Lime Lit, and The Capilano Review.
Twitter: @chimedumohaegbu | Website: https://chimedum.wordpress.com/
Stephanie Chang is a sixteen-year old poet from Richmond, BC. Her work appears or is forthcoming in The Adroit Journal, The Kenyon Review, Cosmonauts Avenue, The Berkeley Poetry Review, The Penn Review, and others. She has been recognized by the Scholastic Art & Writing Awards, Patricia Grodd Poetry Prize, Jessamy Stursberg Prize, Poetry Society of the UK, and Best New Poets. In her spare time, she craves bubble tea, attempts to cook, and competes at debate tournaments. Currently, she writes for Her Culture’s digital magazine. She thinks you are wonderful.
Isabella Wang’s debut poetry chapbook is forthcoming with Baseline press in 2019. At 18, she is the youngest two-time finalist and writer shortlisted for The New Quarterly’s Edna Staebler Essay Contest. Her poetry and prose have appeared in over a dozen literary journals, and she holds a pushcart prize nomination in poetry. She studying English and World Literature at SFU, interning at Room Magazine, serving as the Youth Advocate for the BC Federation of Writers, and co-ordinating the bi-weekly Dead Poets Reading Series.