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Writing Spaces: Michelle Syba

By Michelle Syba

Continuing the special #TNQ144 edition of Writing Spaces, we’re taking a peek into the working space of Michelle Syba, author of “End Times”.

I like to write on the couch. I start by reading for 20 minutes, to remind myself why I write, and then the book closes and the laptop opens. Usually the state of absorption carries over, as I go from one world to another. Nearby are tea and chocolate, for caffeine and pleasure, and a notebook to remind myself of some developments in the story.

My writing habitat basically evinces a commitment to pleasure. I don’t see the point of writing creatively if it’s not mostly enjoyable, or at least absorbing when difficult. I trained as an academic, and back then wrote at a desk. Academic writing felt like work, mainly because my brain isn’t wired to generate systematic arguments, but also because of the desk. When I finally gave myself permission to write creatively, I realized that it would need to be fun if I was going to keep doing it. Sitting on a couch making up stories is fun. My space reminds me that I’m lucky to write how I want.

We’re giving you a behind-the-scenes look into the writing process – straight from the desks of our contributors! Check out the full series here.

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  • Michelle Syba
  • Writer Resources
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Writing Spaces: Michelle Kaeser
Writing Spaces: Tanis MacDonald

Territorial Acknowledgement

The New Quarterly is based in Waterloo, Ontario, on the traditional territory of the Haudenosaunee, Anishinaabeg, and Neutral Peoples. We acknowledge that this land is part of the Haldimand Tract, the land promised to the Six Nations of the Grand River as part of the Haldimand Proclamation of 1784.

As a literary magazine devoted to storytelling, we recognize that stories have long been a way of knowing, preserving, and sharing in Indigenous cultures. We honour the generations of First Nations, Métis, and Inuit peoples who have cared for these lands and continue to do so. We commit to listening, learning, and amplifying Indigenous voices, and to supporting pathways for truth and reconciliation through the stories we publish.

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