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Talking with Amy Gigi Alexander-Part 2

In Part 1 of this interview, Amy Gigi Alexander talked about writing and travel. She has many projects in mind and this interview explores how you can take up so many projects and do justice to each of them. Very often these days, we find ourselves steeped in a quagmire of ideas and possibilities– the challenge lies in  taking your ideas forward.

You are a fan of bucket lists– you wrote one that was a huge motivation for you to experience life– what is the best way to create one?

I’m huge fan of bucket lists. I think a bucket list and what is on it shows the character of the person who wrote it. These lists are not always about quick experiences which are checked off in succession—sometimes they are tasks that take years.

I’m about to write a new bucket list this month, and one tool I will use is to imagine what I am afraid to do. I think bucket lists are useful to get over fears and overcome the blocks that we set up for ourselves. Anything I think I cannot do will be on my new bucket list.

In addition, bucket lists are a wonderful way to find your sense of humor. On my last list I had things which still make me smile that I did them: embarrassing silly acts that make me take life a little less seriously. Be in a parade. Sing in front of a crowd. Try stand-up comedy.

Bucket lists are not just about saving your life—they are also for helping you find your joy.

Tell us about your upcoming book projects and other social media projects and what inspired them.

I have three book projects happening right now. The first the Conversations series. This is a series of long format interviews with travel writers and writers of multiple genres about travel themes. The idea came to me because I was looking for such a series online, and couldn’t find anything. My dear friend Patricia Schultz who wrote 1000 Places to See Before You Die gave me the best advice once: “If you don’t see what you want out there, make it. Create it yourself.” So Conversations was something that came out of that advice. The series is online on my website, also on Facebook page, and will be published as a book in the future.

The second book project is the travel memoir I am writing about India. I lived-and loved—in India for several years, and this book centers on five months of those experiences in Calcutta, West Bengal, and a small village in Bihar. It is a story about falling in love with a city, a love affair that is passionate and intense, and at the same time, working with Mother Teresa’s nuns and questioning the validity of my beliefs and struggles with my own humanity.

The third book project takes place in Panama, and centers around an eight month period I lived in a remote jungle village with a group Ngabe Bugle indigenous people who had invited me to live with them. It is a story about losing oneself and finding oneself in a new way, and also it is the story of the proud and fierce people who I lived with and honored me with their experiences and teachings.

And of course, there are other book projects floating around– one is a travelogue about Varanasi and the Ganges. However, these are the first three to complete.

Online, I have my website, which features my own stories, a blog, the interviews and a guest collection of curated tales; the Walking Writing Women Facebook and Twitter pages; and my own personal Facebook and Twitter pages.

Tips on how to use social media. You curate multiple pages and causes- how do you do this effectively?

Well, first off I think people get the impression that social media is a time drain. I have the opposite feeling—to me it very fast, easy, and doesn’t take a great deal of time. I do schedule the amount of time I spend on it each day, and that time is divided into four parts: (1) my own posts (2) responding to comments and personal messages (3) seeing what others are doing on social media (4) sharing the work and posts of others. Once I hit the time limit, I don’t visit social media again that day. However, I still might go on it to have a messaging conversation. The trick is spread your time throughout the day in segments, so that you are always interacting and always seeing what interests others.

My social media tips:

(1) Be inspiring

(2) Make your page a destination that people want to visit because they feel good when they do.

(3) Share the writing of others

(4)Don’t use hashtags and other annoyances unless it is a theme or an event

(5)Thank others often and by name

(6) Use messaging to deepen the conversations that start on your posts

(7) Choose a few things that you are known for and consistently post about those things.

(8) Authenticity. Love what you post.

(9) Choose five random people each day to visit: look at their page, check out their links, and their websites, and comment on their posts

(10)Be okay with deleting comments without explanations and deleting/blocking and unfollowing people who harass or comment inappropriately

I usually ask every writer who is featured on this blog for a creative prompt- I call it Project Inspire. Give me your version of it. A picture, a story, a tweet…anything you think could get a blogger inspired to write or pack her bags and travel.

Project Inspire:

“I’ve always been fascinated by risk-takers. Maybe not so much risk-takers as people who listen to some inner voice and follow it where it takes them. They follow it even though they aren’t sure where they are going or how things will turn out. They go anyway. These people are the great travelers, voyagers, discoverers. And I’m not just curious about them: I need them. For life without them as guides is like being in a beautiful palace with all the lights turned off and the curtains drawn.

There have been times in my life I felt suffocated, that I walked as though there was a pillow in front on my face, blocking my sight, my speech. Muffled. Closed. Squinting at shadows. Sometimes it has taken me awhile to figure out that the pillow is there, and that my words aren’t being heard, that I’m blind. It takes me time to see that blurred lipstick shallow breaths are not sustaining. That’s when I start searching for risk-takers and I follow their trail, usually in the form of a road trip, a journey towards. Road trips, particularly of the driving-a-car-for-hours-and-hours variety, to some hoped-for destination, sight, or encounter, have a way of unshackling.”

-from Freefall in the Mojave


Thank you so much for your time Amy! It has been a wonderful experience talking to you and learning about how writing can be used productively to share experiences and learn from it. For it is not just the journey that matters but the telling too that makes the story a gem.


© neelthemuse, 2015
Check out my book Unsettled @ Amazon




Posted by on March 15, 2015 in Day to day, Interviews with Poets


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Talking to Amy Gigi Alexander-Part 1

I don’t understand Women’s day as a concept, as everyday is just another for some and The Day for others, but there are days when certain posts are appropriate. I had the opportunity to talk with the wonderful Amy Gigi Alexander- many of us must know her social media profile. She’s an inspiring woman and was kind enough to answer all my questions in time for International Woman’s Day. You must check her fb page: she combines her interests so magically and draws in people from diverse parts of the world with her enthusiasm- quite a refreshing way of looking at the world. She travels, she’s had her battles, she writes, she curates……


Amy Gigi Alexander is a writer, explorer, traveler and believer in goodness. She writes long form travelogues mixed with memoir and fiction for publications around the world, including Lonely Planet, BBC Travel, World Hum, The Hindu, National Geographic, and more. Her stories have appeared in collections by Travelers’ Tales and Lonely Planet, as well other literary anthologies and journals.  You can read more of her work at


How is a woman’s writing about her travels any different from the travelogues by men?

I see you’ve decided to start with the easy question first. I’m teasing.

When I go to place, everyone knows I am a woman, and I am spoken to as a woman, offered experiences as a woman, and this treatment colors how I see the destination, culture, and people. The same is true for men. There are simply different experiences for men and women because many cultures treat the sexes differently.

   There are places a woman usually will not go: especially in conservative areas of the world or places which are dangerous to women as the idea of women traveling is unusual. So you might see a story by male travel writers with story lines such as crossing Afghanistan solo by horse, or sailing the high seas with Senegalese pirates—but it’s very rare to see such stories by women. There are lots of exceptions of women in adverse conditions going at it alone, such as Dervla Murphy, Arita Baaijens, Ella Maillart, and more. But the vast majority of women’s travel tales will not involve such narratives.

But I think this fine, because women have access to a world that men do not have when they travel: the world of women. This insider view is impossible for a man to witness, but a woman traveler has instant access due to being female. Some of the things I’ve been invited to do because I am a woman are: sitting on a rooftop with village women talking about their life stories; attending a childbirth; walking with female nomads across a desert. There are many ways women are living around the world, and as a woman, I’m an instant sister and able to take part.

So as women travelers, we really have the best of both worlds: we have access to both men and women, and if we want we can have solo adventures which push risk, or we can take risks in more intimate ways, developing bonds with a worldwide sisterhood.

You have so many stories on your fingertips- how do you keep track of them all?

I don’t think about my stories too much: when I travel I take a lot of notes, and sometimes the story is complete when I return from my journey—sometimes not. Once they are done, I just file them away and take them out as I feel inspired. I keep a running list of what I have completed and what is still in idea phase.

How should a woman travel—alone or in groups—what is your advice to her, particularly when it comes to safe and meaningful travel?

A woman should travel as she wishes.

There is no wrong way to travel, and both solo and group travel have value even though they are very different.

I didn’t travel a lot on my own for many years, and traveled with companions and friends. At first this had its own ease and I enjoyed it. But after I got more comfortable with traveling, I disliked having to constantly take someone else’s ideas and wants into consideration, and felt I wanted more spontaneity. I started traveling alone simply because I wanted to invite serendipity, and it is hard to include that in a structured agenda!

I enjoy traveling alone, but I also love traveling with other women. Traveling in a group of women can give you wider berth in some areas of the world, and if you don’t have a lot of time to make mistakes and get lost, group tours are really advantageous. Still, I also think when you are on that tour, wandering off alone now and again is a wise idea: it helps you see yourself as capable and strong.

Tell us about Walking Writing Women– you share 365 stories this year about traveling women in history. Where did the spark for his idea come from and how do you go about with the research of these sometimes obscure determined characters?

Writing Walking Women started because I wanted to walk across part of Newfoundland, and mentioned this on social media. I got many messages from women who said that they wished they could take a trip like that, but that they could not think of doing it alone—or didn’t want to. It occurred to me that we could all go together. Why not? So Walking Writing Women was born! We do take several trips a year and we meet all over the world, and write about the places we go as we travel together.

The #365 women idea came from a search I did online one day: I was looking for women travel writers and the Wikipedia page came up. On it was a list of travel writers who were mostly men, and a few women, most of whom were long since gone and from the period of history rife with colonialism. I began doing research on women who traveled and wrote about it, and discovered hundreds of women that needed a voice: poets, novelists, explorers, botanists, historians, and memoirists. So many women travel writers from around the world!

The idea grew overnight: why not share a woman travel writer a day on social media? Why not give a biography for each woman and show pictures of her life and literary accomplishments? Then I decided to turn these Facebook posts into a database, and with the help of the other members of Walking Writing Women, that is becoming a reality. At the end of 2015, when you do a search online for women travel writers you’ll see that tired Wikipedia page—but you’ll also see a huge database on our website. We want to create a resource which inspires women to travel and write, and we can think no better way to do that than use the women who have gone before us.

Follow Writing Walking Women on the fb page here.

You write short stories and do travel writing. Where do the lines blur between these two writing forms and where do they separate?

For me, they don’t really stand separate. I know that travel writing has a formulaic reputation, but I find that the travel genre lends itself very well to weaving memoir and stories about place. The only difficulty is that there is a framework that a travel story has to have, a start, a middle, an end. These parts have to be very clear, unlike fiction of cross genre writing, where literary forms can bleed into one another without questions.


In part 2 of the interview, we will take a look at bucket lists, social media tips and Project Inspire with Amy. Right now, let me check one to-do on my bucket list: read more about Walking Women on their fb page and inspire myself to move out of the world in my head to the World, the real construct.

© neelthemuse, 2015
Check out my book Unsettled @ Amazon


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I must confess I am not through blogging. I blog a great deal where I work and that has led me to the illusion that I am blogging after all and have left nothing behind.But I have, of course.

Waxing eloquent about poetry is not enough– you must pursue it, but as this is my place of honesty, I have not been pursuing poetry for a while now. Not at all– all my interests are going prosaic and this worries me. Though I did madly read Philip Levine the other day.

There are many things about me that my blog has not touched and I find this strange.


The first #book(see I’m a hashtag addict) I ever wrote was a self-help book. It took a couple of years for all the wheels and cogs to come together, but I wrote it to see if 326 pages was possible. It was.

Then I wrote a short novella, and considering that this is my blog and that it must be self-serving, I should have done more work on the paranormal romance genre and speculative fiction genre in general.

Has it ever happened to you that you have been blogging for a long time and you suddenly realized that you had a place at your disposal to say so many things, and you didn’t? I envy those who use their fbs and twitters to speak so fluently about the place where they are at.

It calls for some kind of fluency of the fingers to type out your life to your timeline.

When will I ever learn to do it–must I? Must you?

Of course.

© neelthemuse, 2015
Check out my book Unsettled @ Amazon



Posted by on February 18, 2015 in Books, Day to day, Fiction, Paranormal Romance


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Reading a poem for the first time

Facebook is a good thing sometimes. Came across a poem by Galway Kinnell called ‘Little Sleep’s-Head Sprouting Hair in the Moonlight’ and it was like reading something I knew but could not articulate adequately enough. The first reading of any poem is like that- there are just words in the beginning. I like this stage of reading.

“I,like you, only sooner
than you, will go down
the path of vanished alphabets,
the roadlessness
to the other side of the darkness,

your arms
like the shoes left behind,
like the adjectives in the halting speech
of old men,
which once could call up the lost nouns.”

Then when you read again and again, synapses intervene and meaning comes out. That’s when the epiphany occurs or even disappointment.

The newness of syntax is probably what makes poetry so readable for some and unreadable for others. Syntax makes everything meaningful; it’s like the structure we give our lives. What do we do when the structure falls apart? What syntax can we salvage then? This is probably why it makes sense to read a poem everyday as the disruption of what we know is often what life is all about.

The one place poetry courses could fail is that these intervene with your first reading. The words are circled and analyzed. The meanings are made to come out, then linked to biographies of the poets who wrote them. Sometimes the analysis can take us somewhere the poem didn’t want to go.

What has your first reading of any poem been like?

© neelthemuse, 2014
Check out my book Unsettled @ Amazon


Posted by on November 5, 2014 in Day to day


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Sometimes life takes over

There are many rules about not falling off the blog scene. I follow twitteratti/fb and the status quo dictates that writers must follow a regimen and to-do lists. They must check, check, check.

But rules apart, there is joy in reading a blog that dates back a couple of years. I came across one such blog today and it was interesting to see how a blog is a record of so many interesting thoughts. It is something that deserves to live!

So with that in mind, I’ll be writing here more often.


© neelthemuse, 2014
Check out my book Unsettled @ Amazon




Posted by on July 31, 2014 in Day to day


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Writers, Block

I happened to meet a poet one day and she wagged her finger at me, looked at me with those deep beautiful poet eyes and said Neelthemuse no posting poetry in the public domain.

That made me want to cry, honest.

Why do poets publish their poetry without sitting on them a little longer? Who knows if those hundreds and hundreds of poems that you collect might not turn into an anthology? Wouldn’t that be great?

Of course, it would.

But my fingers are trembling….

do not worry. I won’t hurt a fly

Until later, and that is far away, like a wave that says goodbye to the shore and rolls behind, behind the sun,
until until it comes again.

Anyway, I’ve been visiting promotion land. This is my facebook author page in case you want to get updates on my book ‘Unsettled’:

© neelthemuse,2013


Posted by on June 20, 2013 in Books


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Ross Sutherland

Poetry like all media reflects the times. I watched ‘Every Rendition on a Broken Machine’ one internet obsessed evening and decided at once that I had to find out out more about this new evolutionary strain of the digital muse.

Meet Ross Sutherland. His poetry is very contemporary, very of the now. When I talked to him,I learnt that you are the one who creates standards- poetry is your clay to mould, your game to play. You can integrate the video game with text, rewire myth with cyber, match the 2D cartoon of your past with your identity.

Ross Sutherland was born in Edinburgh in 1979. A former lecturer in Electronic Literature at Liverpool John Moores University, he now works as a poet and poetry tutor. He has four collections with London press Penned in the Margins, including the 2011 ebook Hyakuretsu Kyaku and 2012’s Emergency Window. He has a co-writing credit on twelve live literature productions, including the Time Out award-winning The Three Stigmata of Pacman. His 2011 documentary, Every Rendition On A Broken Machine can be watched online at

What is the contemporary poetry scenario like in the UK?

Pretty diverse. Poetry seems to always be spilling over into other parts of the arts. In the UK right now, there’s a lot of poets who are producing storytelling shows in theatres, there are poets appearing on bills with stand-up comedians, there are poets working with performance artists in art galleries. Publishing wise, there remains a strong small-press scene, with close ties to the live scene.

To name a handful of UK poets with not very much in common: Hannah Silva, Luke Kennard, Sam Riviere, Luke Wright, Emily Berry, Kate Tempest.

What kind of role do you see for blogs in creating a better avenue for visibility of poetry?

Well, it’s all about sharing individual poems. People can share blogged poems on their own FB/twitter page. Being short, they work well on this type of platform.

Also, the web is the home of SO MANY emerging poetry forms: Glitch Poetry, Internet Poetry, Flarf. These things are native to the internet. They’ve evolved at speed because they don’t need to be filtered through a publishing press. More people read blogs than actual poetry books anyway.

I just made that last fact up. But it sounds true, doesn’t it?

How do you integrate digital technology with your literary  output–do you think poets have to be more tech savvy these days to be taken  seriously?

I work a lot with Youtube because I’ve always enjoyed making films. When you add a visual element to a poem, that’s a whole new layer of information being laid over the text. When it goes wrong, it can be like two people shouting at you at once! But I enjoy the challenge. It opens up a lot of new areas of experimentation. I end up thinking more about the interface between poet and reader.

New technology creates new formal challenges for poets. And I’ve always been a big fan of form. I’ve tried making poems that can be played on iTunes Shuffle. I’ve made poems that iteratively rewrite themselves using Babelfish. I’ve had a lot of fun writing Flarf recently.

For me, the structure/interface has to come first…then I work backwards towards something personal.

So yes I think I’ve gone quite far down that road of ‘digital integration’, but it’s definitely not for everyone.

You’ve got to do whatever feels natural to you.

Tell us a bit about the creative writing workshops you conduct. What is the most important thing an aspiring writer needs to get  noticed?

My answer to this kinda feeds into something from the previous question. Being ‘noticed’ or ‘taken seriously’ are hard things for me to talk about. Possibly because it suggests that there is an establishment which decides who is in and who is out. Almost all of my projects, all of my gigs, are things which I just went out and made myself, rather than waiting for someone to pay me to make it.

My advice would be: if you have an idea for a live show, or a book, or a film, just do it yourself. Don’t wait for an established theatre or publisher to approach you. Don’t spend 10 years drafting your first collection. Publish and be damned! Putting stuff out there in front of audiences is the best way to get feedback, it’s the best way to learn what works and what doesn’t. Almost every time you do that, you’ll meet someone who will help you out the next time round.

So, I’d say that all my best creative writing students tend to be the ones who set up their own poetry nights, the ones who run blogs, or make their own pamphlets to distribute to classmates. They tend to be the same students that write compulsively. They’ve gone out and created their own community, rather than waiting for the phone to ring.


Fantastic! Thank you so much Ross for introducing contemporary poetry and its online future! One creative sojourn, this.


© neelthemuse,2013


Posted by on January 4, 2013 in Interviews with Poets


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