When I was in school, I once had a saying, “Sleep you can get any old time, but grades last forever.” At the time, I meant it. It wasn’t the best mindset, but it fueled my drive to maintain a near-perfect grades. As an overachiever, I found comfort in metrics—things that could be measured, quantified, and tracked. That’s how I knew I was doing well. They were the invisible pats to the shoulders. You did good. With working divorces parents who just always couldn’t be there, numbers were a great substitute. Numbers gave me a sense of security, a tangible way to validate my efforts, to validate me.
Vanessa literally on a treadmill.
Unfortunately, I’m not alone. I believe the validation race is everyone’s personal kryptonite and the obsession starts young. My last year in elementary school, I won everything—the Citizenship Award, honors in science and math, and a spot on the honor roll. It was an amazing experience to be recognized by my teachers and the principal. But I remember vividly that same day, being called to a third-grade classroom to encourage my younger brother. He was upset because he hadn’t won anything. I had to gently explain to him that awards like these were given in sixth grade because students were preparing to transition to middle school. It wasn’t his time.
Still, it was difficult to celebrate my accomplishments while knowing he was in pain. Even though he wasn’t eligible for the awards, he still felt the sting of being left out. That’s what the constant chase for validation does to us—we seek it even when we don’t need it, even when it’s not our time to be evaluated or recognized. We keep chasing the numbers, keep running on the validation treadmill.
But the problem with numbers is that when you focus on them too much, you can lose sight of the journey. This isn’t just an issue for young people and students—it follows us into adulthood, into our careers, and for those of us who write, into the publishing world. As an author, numbers are everywhere. It starts with the word count—how many words it takes to complete a manuscript; how many get cut during editing. Then comes the timeline—how long it takes to get through copyediting. A friend of mine showed me how to take a manuscript that has been copy-edited and put it into Pages to track the number of revisions. And while that was cool to learn, it was just another number to haunt me, to obsess over, and to try to get right—whatever that means.
More publishing numbers: how quickly the book needs to be turned around, how many months, days to pub. And then, the numbers shift to reception—the number of reviews, Goodreads ratings, NetGalley and Eidelweis requests. The numbers don’t stop. They just change shape.
Once the book is out, the chase continues: the number of posts on social media, the number of followers, the number of subscribers. The formula for success remains elusive, and the pressure builds. Writers aren’t alone in this. No matter your field, numbers are always chasing you—performance metrics, annual reviews, engagement rates, sales quotas. The cycle never ends. And after a while, this constant pursuit can overshadow the real goal: growth, creativity, and fulfillment.
This endless race can lead to burnout. And burnout looks different for everyone. Some people cry. Some people yell. Some people run miles to clear their heads. Me? I bake deep-dish apple pies. My husband knows I’m in trouble when I start making a pie crust from scratch for no particular reason. He can hear how hard I’m chopping those apples. He sees the intricate lattice work I’m designing on the crust—each crimped edge and delicate braid a sign I’m trying to regain control in a world that feels overwhelming. That’s when he knows to bring me a latte or a pile of chocolate, because his wife is spiraling.
The truth is, we all need people who can pull us out of the chase, who can remind us to stop counting and start living. Rest is not a luxury—it’s a necessity. And rest doesn’t always mean sleep. Just as praying without ceasing doesn’t mean sitting still, resting is an active practice. It can be stepping away from the numbers, engaging in something that feeds your soul, or simply taking a breath. Rest looks different for everyone, but without it, we suffer. Our bodies wear down, our creativity dims, and our minds stop firing in the ways they need to. For a writer, that means losing the very words we work so hard to find.
How do we heal? How do we stop the obsession? I don’t know. We all tick differently. Some books that might help are:
The Courage to Be Disliked by Ichiro Kishimi & Fumitake Koga – A thought-provoking book based on Adlerian psychology that challenges the need for external validation and encourages self-acceptance.
Radical Acceptance by Tara Brach – Explores the power of self-compassion and mindfulness to break free from the cycle of seeking approval.
The Gifts of Imperfection by Brené Brown – A powerful read on embracing authenticity and letting go of the need for validation from others.
What Happened to You? by Oprah Winfrey & Dr. Bruce Perry – Looks at how past experiences shape our need for validation and how to heal from them.
Fiction provides great examples of validation in all stages. Before I Let Go by Kennedy Ryan deals with validation, self-worth, and healing for both main characters, Yasmen and Josiah, as they try to define their post-divorce evolving identities.
One of the reasons I loved writing Scarlet Wilcox in my upcoming novel A Wager at Midnight is because she has divorced that part of her brain that seeks judgment. She doesn’t care what others think unless it affects her family. Yet, as brave, bold, and daring as she is in seeking her path to bring medicine to those who cannot get it—those whom society deems ineligible or unworthy—she still slips into wanting validation from a physician, Stephen Carew. Scarlet is a good balance of all of us, and I loved writing those moments where she is free of cares and when she’s forced to face her fears.
So I am giving you permission to take a moment for yourself. If you take nothing else from this podcast, learn this: It’s okay to rest. It’s necessary to rest and not focus on numbers or being superhuman. If you don’t take care of you, your body, mind, and creative being, the world will chew you up body, dry up your spirit, and move on to the next overworked soul.
But you? You are the hero of your own story. And every hero needs rest. So take off your cape, stretch it into a hammock, and allow yourself a moment of peace.
Show notes include a list of the books mentioned in this broadcast. This week, I’m highlighting Eagle Eye Bookshop through Bookshop.org.
Subscribe for free. Get Vanessa’s take on current events, publishing—challenges and opportunities—drawing from her journey as an indie author turned traditionally published powerhouse: 26 novels and counting.
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This is a public episode. If you’d like to discuss this with other subscribers or get access to bonus episodes, visit vanessariley.substack.com/subscribe
One of my first essays on Substack, when I was testing out what I wanted to do, was about my editing process. Before I began podcasting, I was exploring my platform and had just gone through a brutal but necessary copyedit, and I wanted to talk about the lessons learned.
Write now in the ethos of publishing is a bit of a scandal about a writer when given feedback about an offensive bit of dialog in their novel, decided to keep it in to show the main character as “flawed.” Yes, racism is a flaw. Expressions of racism in a main character, a romantic hero is a flaw. I really do like my romance novels, well all novels without a side of microaggressions.
Some people argue that everyone is too sensitive or “too woke.” Others seem to long for a time when publishing was less scrutinized, less inclusive. You know, when inflammatory content could be published without consequence. Some long for the so-called “good old days” when most books catered to a dominant perspective reinforcing loud stereotypes, atmospheric patriarchal notions, or subtle supremacy.
Words are powerful. They can expand imaginations and help build better societies. When an author is not sensitive to the needs of others, that author will be found arguing with reviewers on social media, making faux apology videos, and getting publishers in trouble. If the scandal arising from publishing microaggressions, stereotypes, cultural appropriations, or racist and ableist sentiments is big enough, that author may face bans or delays in publication. If they have a fan base, they’ll be alright. I just don’t think it’s not worth it. No insensitive hill is worth dying on.
I’m 27 books into this process—twenty-five published, with number 26, A Wager at Midnight, set to release March 25. I value opinions, especially those different from mine or from perspectives and backgrounds unlike my own. I actually get nervous when an editor gives little to no feedback—I want it all. Iron sharpens iron. Critiques are how writers improve.
So let me pull back the curtain and share my process and how edits and sensitivity fit in the writing process.
First, I write the worst draft in the world. ➡ Revise ➡ Then Revise Some More ➡ Developmental Edits ➡ More Revision ➡ Sensitivity Review ➡ Copyediting ➡ Proofreading ➡ (And Pray—throughout!)
Worst Draft in the World
Every writer has to know how they write. I know my first draft needs to be between 25-30% of the final book’s word count. Any more than that and I’ll overwrite the book when I revise. That first draft is naked. I spend time, revising adding mood, colors, setting, historical touches, and emotional depth. I usually revise the awful-no-one-will-ever-see-it draft three times before going to the next stage.
Developmental Edits
Developmental editing tackles the big-picture elements: story structure, pacing, plot, character arcs, and themes. This stage addresses questions like: Does the story flow logically? Are the characters well-developed? Are there plot holes or inconsistencies? What’s the message? What’s the theme?
For every book I write, I hire a freelance editor. My Felicia gets the manuscript before my acquiring editor. Why? I want to turn in the best possible version of this book. So that editor won’t have to spend time plugging plot holes, catching redundancies, etc. One time, Felicia caught when I’ve changed character names mid-story. She knows me—and more importantly, she knows what I’m capable of delivering. I can confidently hit send to my acquiring editor knowing the manuscript is good. My editor gets it, and with their input, we can make a great book.
Back to Revisions
Back in my hot hands with my editor’s notes, it’s time to revise the manuscript again. This is my chance to refine it. I will rewrite sections and cut stuff. I’m rarely asked to expand—such is the happenstance of being a wordy, word-loving author. But I’m brutal at this stage. No word, storyline, or character is safe. I will cut. I will cut with abandon. In my next historical fiction coming January 2026, I cut 55,000 words. Let me say that again. Fifty-five thousand. Yes, it sucked. It hurt. It’s not like I can just put these words into another book but it was the best call. The book is better for. I believe in my editor’s feedback. I’ll do what’s necessary to send readers the best book.
At this point we’re in good shape. Let’s get back to being sensitivity.
The Sensitivity Touch
Sensitivity readers are supposed to review the manuscript to ensure your beautiful words doesn’t offend, get you sued, or put you on a watch list. Every one of my historical fictions—Island Queen, Sister Mother Warrior, Queen of Exiles– has been subjected to sensitivity reviews. My editor, publisher, and I want to make sure these books are accurate and respectfully represent cultures, identities, and historical events.
It’s a crucial step. It can’t be overlooked when tackling diverse characters or sensitive topics. Look, I am Black. I’m of Caribbean descent. Dad was Trini and Ma was Southern Baptist Black. I don’t get a pass to say I can automatically write about Haitian or Jamaican cultures. I do meticulous research about the most minute details, because I take my responsibility very seriously to represent these cultures and ancient peoples with respect. But I’m not perfect. I want the help. I need someone to kick my manuscript and put it through the emotional-cultural wringer before I get lit on fire by putting something out that’s wrong or, worse, offensive.
Sensitivity readers provide essential notes on areas that may inadvertently cause harm or perpetuate stereotypes. Writers, we are not supposed to do harm. Stories have power. They have a life and energy of their own. Authenticity and inclusivity elevate your writing. Don’t you want positive impact?
Copyediting and Proofreading
We’re not done. Copyediting and proofreading take our writing to the finish line. Copyediting hones in on the finer details and examines grammar, punctuation, sentence structure, consistency, and clarity. The previous edits have messed with the story a lot. A copyeditor should identify errors and flag inconsistencies. A good copyeditor will highlight blocking (the entering and exiting of characters from a scene) repetitive words or phrases—those dreaded echoes! A great copyeditor will teach you something. I recently learned that “hubris” wasn’t used until the mid-19th century—a fascinating tidbit for a proud historical fiction writer trying to write a 17th century novel.
Proofreading
A proofreader does a final pass before publication. They catch lingering typos, formatting issues, and minor errors that slipped through earlier stages. Even the most seasoned author can’t catch every mistake, not on their own. Proofreading ensures your book meets top quality standards.
My Mantra for Edits
All the hard work in crafting a story means nothing if you neglect editing or decide on a whim to leaving in something “flawed” for kicks. Welcome to my Ted talk:
* Absorb the critique: It’s not an attack—it’s insight. Sensitivity edits aren’t judgments on you, but your characters. Listen to the wisdom.
* Weigh the Critique: There’s a difference between personal preference and a flashing red light—know which you’re dealing with.
* Have Your Sources Ready: Have your references handy to support accuracy. Include them in your author’s note. Someone is bound to have the question. (PSA: Always add an author’s note.)
* Query, Don’t Assume: Never make a decision to revise—or not—based on assumptions. Challenge both your own and your editor’s perspectives. Make sure neither is rooted in a colonizer’s lens—unless you’re literally writing about Christopher Columbus. (Example: A copyeditor once tried to tell me the Khoe people were incorrectly addressed. That I shouldn’t call them by that name or “Khoesans” because it was created in 1928. The Khoe have existed since 2300 BC. My book was set in 1675. I think Khoe is good. Source documents are in the author’s note.
* Question Dialogue and POV: Read the editors notes. Sometimes they are right about things sounding “too formal or stilted.” Read actual correspondence from the period. It will surprise you about how informal things can be. Make sure you read James by Percival Everett or Lady Tan’s Circle of Women by Lisa See, two masterful uses of dialog entwined to tell ancient stories for the modern audience.
* Be Humble: Negative feedback stings, but it’s a tool for growth. Questions and queries are opportunities to clarify, refine, and strengthen your work.
* Avoid Harm: Represent cultures with authenticity and respect. Sensitivity edits help you sidestep pitfalls that could undermine your credibility.
* If someone flags an issue, fix it: Even if you don’t see it as a problem, take it seriously. If one reader finds something harmful or offensive, chances are others will too. If you are dealing with fictional characters, you can change stuff. If real people are jerks, that’s harder—see A People’s History of the United States” by Howard Zinn to learn or debunk ideas about the horrid exploits of Christopher Columbus. I don’t believe in whitewashing or hiding the truth. Dismissing concerns as “not a big deal” is a failure. It is a big deal. Rise to the moment.
Editing is an investment—not just for your benefit but for your readers. Every stage—developmental edits, revisions, sensitivity reviews, copyediting, and proofreading—are needed to make your novel the best it can be. Your story, your readers, and your publisher deserve that effort. Don’t be defensive. Do the right thing.
This is a public episode. If you’d like to discuss this with other subscribers or get access to bonus episodes, visit vanessariley.substack.com/subscribe
I found a bit of time to read this weekend. For me, that would be a Regency novel. Obvious huh. As I looked at my two-decade-old collection, I started thinking about the types of plots I really love. Three stood out: Old Lovers, Make-Me-Love-You Heroes, and Marriages of Convenience.
Old Lovers
While I enjoy the whole “find a stranger/ love a stranger” aspect of most novels, the Old Lovers: loved once, love lost, love regained, really appeals to me. I recently finished Flight of Fancy, and the richness of the history between Cassandra Bainbridge and the Earl of Whittaker makes the story. It adds a subtle tension through the whole book, causing even mundane actions like Whitaker walking away from Cassandra to contemplate banging his head against the window in frustration, sexy. I wouldn’t feel his pain, if I didn’t know how long he’s loved her and his confusion of how to win her back. I wouldn’t sigh as I see Cassandra noticing Whittaker leaning against the window and noting he’s not gangly any more but well-set, all man now. Hubba Hubba.
And I’ll say it. You can’t get away with “Lessman” like passion starting on page 1 with strangers, unless of course, this is a bodice ripper Regency, but we don’t write that here. 🙂
On my radar to read, Mary Moore’s Beauty in Disguise. Seems that old lovers, Lady Katryn and Lord Dalton have a story to tell in the woods.
The Make-Me-Love-You Hero
What is a make-me-love you hero? This is an intelligent swarthy hero with a smidge of alpha-male arrogance. I know what you’re saying. “Arrogance, really Vanessa. I don’t want to read about a stuck-up hero. ”
Let me explain. Yes, a touch of arrogance is a requirement. It causes him to be deluded into believing he alone can save the heroine from all her woes. This adds to his fall or black moment. It changes him forever. It will make his “somewhat loose bond to God” stronger, more personal, more real.
Oh, he must also be smothered in a big dollop of humor, particularly, self-deprecating humor. It’s a rare combination like a handcrafted tea, but when you find him, you’ll drink him in, reading him over and over again.
And it goes without saying, he must be romantic. I need him to whisk me off my feet and carry me to safety after he bests the footpads. He should whisper sweet Latin or poetry or verses penned by Solomon in my ear to soothe my nerves. Then at the right moment, his rough knuckles will traverse my jaw, tipping my chin to the right angle to kiss me ’til I nearly faint. Or at least he’d want to but his gentlemanly manners prevented it.
Who are these men? You’ve met them: Mr. Knightly (though he needs more humor) of Emma, Mr. Darcy (after he falls for Elizabeth) of Pride and Prejudice, Dominick Cherrett (from start to finish) of Lady in the Mist, Adam Drake of A Proper Marriage(Zebra-Traditional Regency), and Justain Delveaux of Madeline’s Protector (Ok, you’ll get to meet him in April). There are so many more that I can’t do this post justice.
Sigh, sorry I was in my happy place thinking of these heroes, back to Regency Reflections. P.S. please comment with more Make-Me-Love-You Regency heroes. I need to add to my bucket list.
On my Radar: Major Gerrit Hawkes of the Rogue’s Redemption. I hear he’s a naughty guy turned good by the love of a good woman and a good God.
Marriage of Convenience
As I said before finding love with a stranger can be stirring. Nonetheless, having to marry said stranger before you knew you loved him is positively fascinating. The idea of marrying a stranger is probably making you cringe. This complete loss of control in a matter of the heart would lead to many hours of prayer and/or counseling. Yet, did you know that the average divorce rate of arranged marriages is 6%1? Did you know the average divorce rate amongst Christians (those who regularly attend church) is 38%, 60% for Christians who don’t attend church regularly 2. So let’s not scoff at these marriages based upon factors other than love.
Let Me Explain What a (Regency) Marriage of Convenience is and What it is Not.
A marriage of convenience is a real marriage, not a fake one. It must be officiated like every other marriage, with licenses, banns, etc. In Regency times, these were marriages for life. There is no “let’s get married” for a few years and then divorce. As a matter of fact, there is practically no divorce. Unless the husband continually cheated with the wife’s sister to the point the wife could not forgive him and was constantly reminded of the infidelity, Parliament saw no reason to grant a divorce. Thus, divorces were extremely rare in England since it had to be sanctioned by Parliament.
There was such a thing as a Church Divorce. This was not a legal divorce but a separation ordained by the church. This did not dissolve the marriage or allow someone to marry another. It was just a civilized way to separate. Women needed to be particularly careful in this situation. The husband could keep custody of the children, as it was his right to decide where the minors would live. He could prevent her from ever seeing them. Under a Church Divorce, the husband could do the bare minimum to provide for the wife. Again not a good situation for the wife.
A marriage of convenience did not have to involve a compromised party. It might just be convenient. I truly love, when a hero accidentally or purposely compromises the heroine and is now forced to save her (and his) honor(s) and must marry the heroine. Yet, this is just one contrivance. They may decide to marry to fulfill the requirements for an inheritance, to join lands, to protect the heroine, a parent’s dying wish, or an overly complex and contrived plot. Many reasons, just not for love.
A marriage of convenience does not mean no nookie. This was a real marriage with a marriage bed. As Hebrews 13:4 says, “The Marriage is honourable in all, and the bed undefiled.” So if the parties are inclined or they needed an heir…. Well, you get the picture.
Alas, most of my favorite Marriage of Convenience stories are found in the old traditional Regencies (Inspy’s we need more of these): The earl and countess of Sanborn in the Perfect Mistress (Bantam), the earl and countess Faulconer of A Convenient Marriage (Zebra), the earl and countess of Slenford of The Earl’s Mistaken Bride (Love Inspired).
On my radar, Marriage of Inconvenience by Cheryl Bolen. Is the practical marriage of the Earl and Countess of Ansley doomed or just beginning? I’m going to have to find out.
References
UNICEF, Human Rights Council, ABC News, 8/12/2012
Bradley R.E. Wright, Christians Are Hate-Filled Hypocrites …and Other Lies You’ve Been Told, (Minneapolis, MN: Bethany House, 2010), p. 133.
Sunny Hostin holding up a copy of Queen of Exiles!!!
This is so exciting. Queen of Exiles is a Sunny Lit Pick!!! On August 2nd, she introduced Queen of Exiles to The View.
Meet Queen Louise. This is a historical fiction about a true queen, Hayti’s 1st and only queen. It’s a sweep tale which will take you through the politics and intrigues of the Haitian Court to the twists and turns of Regency and Victorian England and France and Italy. Queen Louise was a brave woman who dared to be Black, royal, and happy.
The audiobook performed by Robin Miles won an Earphone Award from Audiofile Magazine. It’s an Editor’s Choice Selection for the Historical Novel Society.
Riley’s historical novel feels timely and relevant, commemorating a time when Black women were queens. – Jodi Picoult, #1 New York Times bestselling author
I started writing essays because my mind battled deep disappointment over the state of division in my country. My consciousness is bias, tragically etched with memories of when character mattered. Remember when we all wanted to be president? I remember holding civic medals I’d won in elementary and high school. I recall lifting people up on pedestals and telling younger versions of ourselves, “That’s who I want to be. That’s who I want to emulate when we grow up.”
Heroes of the Haitian War —Empress Marie Claire, Warrior Gran Toya – Art by Tonya Engle for William Morrow—Sister Mother Warrior
That sentiment is gone. People in power are deeply flawed, or their flaws are more obvious. And it’s not just politicians. We look at sports heroes and entertainers and see waves of brokenness—people performing for show, lacking integrity, and becoming poster children of bad behavior. That is why authenticity feels so refreshing, why it can grip the zeitgeist of a nation and have us talking about it, creating YouTube videos and Subtacks on the subject, even spinning reels and threads—finding more ways to tap into our fount of creativity.
We are hungry for authenticity, for authentic creation.
Now, I’m not advocating for perfection. Every writer knows the pitfalls of striving for perfection. We wrestle with word choice, sentence structure, even the order of ideas. We can edit something so many times that our original vision becomes unrecognizable. Yet, we push forward because the act of creating is essential. It’s the breath in an artist’s lungs.
Our better angels—our novels of truth, our canvases of color, our songs of freedom, our quilts of existence, our visuals of life—are needed more than ever. We are hungry for authenticity, for authentic creation.
Our appetites are satiated in low-calorie burns. Scrolling for kicks, laughs, angry takes, and escape is common. But social media, the hellscape that it is, can be a respite or a drug. And I must say, I am confused about the self-induced stupor of tearful videos of people who voted against their own interests, now seeking the world’s sympathy as they grapple with consequences—lost jobs, lost funding, lost farms, and lost hopes. It’s painful to watch. It’s also jarring to see them admit that this consequence is only a problem now because they suffer. I did a podcast about the loss of empathy. I just didn’t expect an equivalent rise in blindness to FAFO.
I wish harm on no one, but these folks are putting themselves and their business out there and wonder why they are being mocked. Empathy and sympathy need to be learned and earned before they can be demanded from others.
And yet, here we are—still divided, still finding out. We could sulk. We could laugh. We could cry. But I believe the better thing to do is to keep moving forward. That’s how we—the collective, those of like minds, and even new converts to humanity—win. Everyone, we can win. We will win.
There’s a scene I wrote in Sister Mother Warrior—the lead-up to the Battle of Vertières, the drive to push the French out which ended the Haitian Revolution, this is a snippet of the audio performed by Adjoa Andoh and Robin Miles:
Staking the flagpole in the ground, he (Jean-Jacques Dessalines) stopped and looked out at his army. “They divide, but we are consolidated, one family. And this gives us victory…”
Then he gave the signal and pointed us to the hills. “Onward! We will win!” The battle cry of Nosakhere, “Mì nan du déji! We will win!” was music to my ears. Women and men cried out in all the mother tongues of the people born here and those stolen from Africa.
“Yebedi kunim,” Twi.
“A yoo ṣẹgun,” Yoruba.
“Nou pral genyen,” Kreyòl.
“Nous gagnerons,” French.
“Mì nan du déji,” blessed Fon.”
I love that scene—people of all races and nationalities gathering to defeat their common oppressors. Unified they drove the French from Haiti. It took everyone. In America, it will take all of us to win.
The True Fight
We’re not fighting with weapons of war—guns and tanks. We are fighting for minds. The power to unlock thought and passion is creation. How we got here doesn’t matter. Whether orderly or chaotic, it’s not about the process—it’s about the product. What are you making with the time you were given?
The battles can be as small as saving your money by avoiding fast fashion and shopping your closet. Eating and talking about life around the kitchen table instead of eating out. Supporting your library by using it and checking out books by your favorite authors is an act of resistance.
For those who harness their creative genes, making something, delivering art is the ultimate act of resistance. Creating ignites the brain, releasing endorphins and unlocking resilience. Instead of dwelling on despair, we must tap into our inner artist, writer, and creator to make magic in the medium of our choosing. I want this period of time to be a rebirth or renaissance for folk arts, for kitchen experimentation, for the novels we will talk about for the next seventy years.
For every creator out there, I know it feels difficult to make art right now. It feels worse when you know you did your part to keep the world from being set on fire. I often think of my farming grandparents, who lived in the Jim Crow South, educated eight children, and bought over 400 acres of land with mere pennies. If they could plant so many seeds in the face of lynchings, why are we letting fear of people who whine at the first moment of heat or being stoned by pea soup cause us despair? No one should keep us from doing what we must. No one.
History proves that perseverance defies expectations:
· Gran Toya led troops in hand-to-hand combat in her 60s during the Haitian Revolution.
· Fauja Singh began running marathons at 89, setting records in his 100s.
· Ray Kroc turned McDonald’s into a global empire in his 50s.
· Diana Nyad swam from Cuba to Florida at 64 after multiple failed attempts.
· Faith Ringgold gained major recognition for her story quilts in her 50s.
· Cicely Tyson was told she wouldn’t make it because of her dark skin; she won a Tony at 88 and worked until her passing at 96.
· Morgan Freeman became a household name in Driving Miss Daisy at nearly 50.
· Samuel L. Jackson landed Pulp Fiction at 46 after years of struggling with his career. Our Uncle Sam is now one of the highest grossing actors in Hollywood.
And, of course, there are the writers I’ve spoken about:
· Toni Morrison published The Bluest Eye at 39 and won the Nobel Prize in Literature at 62.
· Octavia Butler faced rejection for years before breaking through in sci-fi in her 40s.
To every creator, hear my voice: Grab your paper, pens, keyboards, fruits, spices, fabrics, glues, paints, resins, threads—whatever you have—and birth a miracle. Create. Art is the first and last sign of resistance.
The work isn’t done. We resist by creating. My art—my words—exist to empower Black women, foster sisterhood, and restore the world to a place where we are our brothers’ and sisters’ keepers. The ancestors say we will win. I believe them, and I believe in us.
· Barracoon: The Story of the Last “Black Cargo“ by Zora Neale Hurston – A firsthand account of survival and resilience from one of the last known survivors of the transatlantic slave trade.
Show notes include a list of the books mentioned in this broadcast. This week, I’m highlighting The Book Worm Bookshop through Bookshop.org.
This is a public episode. If you’d like to discuss this with other subscribers or get access to bonus episodes, visit vanessariley.substack.com/subscribe
When I think of Christmas Time, the lilt of bells and the memories I associate with them flood my mind. A warmth grips me, hugging me tighter than my best spencer. To me, bells always sound happy, giving an ethereal lightness and glow to the heart of the hearer. I prefer the sounds of cast bells. Their song is richer and more full-bodied than their thin sheet-metal cousins.
England is steeped in both, and bell-ringing is a part of the culture and history. The tradition of casting English bells predates the Middle Ages. Today, two of her best bellfounders survive, Taylors of Loughborough (1400) and Mears and Stainbank of Croydon (1570).
Moreover, bells and bell-ringing played a role in Regency life. Bells rang to announce a church service. This service would be on Christmas Day as oppose to the Christmas Eve masses we are accustomed to.
I can imagine hearing the peal (the loud prolonged ringing) of St. George’s eight hemispherical bells tolling on the morn of December 25. Maybe the bell ringers would perform a change ringing where they would display a festive pattern of bell tolls. It wouldn’t be a familiar holiday tune but an exquisite series of tones set to a rhythm indicative of the ringers’ skills. Change ringing is still popular today, in England and around the world.
Church bells would also ring for weddings. Although, it would probably be unusual (in my opinion), I couldn’t find any prohibitions to having a Christmas Day wedding. If Christmas fell on a Sunday after the banns have been successfully read, what cleric would stop the couple and delay the ringing of another successful match?
Amidst the joy, bells of London could also possess a seamy side. They are said to have been rung at Bethlehem Hospital (Bedlam) announcing to gawkers to come stare at the mentally unstable patients. I would hope that Christmas Day would be spared, but not the whole of December.
Perhaps after leaving St. George’s, if I were walking toward a coffee shop, a Morris dancer (or a troupe of Morris dancers) would perform in front of me. The bells strapped below their knees would tinkle with each of their merry steps. The Morris dancer tradition dates back to 15th Century in England. Its earliest notations suggests it was a dance that both men and women could partake in, but at the time of the Regency, it was mostly a male endeavor.
Walking a little farther, I might hear bells strapped to a horse team or the ringing of bells on residences which have not installed a doorknocker. Those households wouldn’t have the advance warning of the importance of their visitor, as a footman’s successive knocks would detail, just the egalitarian jingle for all who darken their thresholds. Well, hopefully these homes are prepared for all coming to sup for Christmas dinner.
Trudging a little farther, I hear a dull peal, one laced with sorrow. Bells were also used to announce deaths. Continuing a tradition started in the Middle Ages, church bells were rung to drive away evil spirits from the departed souls. My heart breaks for anyone losing a loved one, particularly during a season meant for love of family and friends. My continued prayer is for the families of Newtown, Connecticut. Here at Regency Reflections/ChristianRegency.com our hearts are broken, too. The ringing of twenty-six bells are too many.
References:
RWA’s Beau Monde Chapter
Oxford’s City Branch of Church Bell Ringers
Central Council of Church Bell Ringers
Forrest, John. The History of Morris Dancing, 1483–1750. Cambridge: James Clarke & Co Ltd, 1999.
Kendrick Lamar’s Super Bowl LIX halftime performance during the game between the Kansas City Chiefs and the Philadelphia Eagles has set the internet—and much of the world—abuzz. Nineteen Minutes by Jodi Picoult is the most banned book in America for challenging the way people see the world. I’m sure those same folks will be coming for Kendrick’s thirteen minutes for challenging the way the world operates.
Less than a week later, scholars, pontificators and fools offered hot takes, deep dives, and debates about every minute of the performance. Those versed in Black scholarship loved it. Others criticized it. And, there were plenty of opinions and outright lies circulating. But here’s what’s undeniable: 133.5 million people watched the halftime show at Caesars Superdome, making it the most-watched in Super Bowl history. According to Roc Nation, Apple Music and the NFL, this number beats those who watched the Fox broadcast of the game which averaged 126 Million viewers. That 7.5 million more tuning into halftime than game time.
Context is King: History of the Halftime Show
Let’s talk about origins. The Super Bowl, the annual championship game of the NFL, has been played since 1967, with college marching bands providing halftime entertainment.
Grambling State University, a HBCU had its marching band perform at Super Bowl II (1968).
In 1972, the first halftime show featuring a Black performer, non-marching band member, was Ella Fitzgerald at Super Bowl VI in Miami where she sang Mack the Knife.
Super Bowl IX (1975) in New Orleans paid tribute to Duke Ellington with Grambling State’s Marching Band and the Mercer Ellington Orchestra.
When was the next Black moment? We have to skip a bunch of years to get to 1991, Super Bowl XXV where the incomparable Whitney Houston delivered a stirring rendition of The Star-Spangled Banner, but she wasn’t the halftime headliner—New Kids on the Block were. In 1993, Michael Jackson, the 1st Black performer to headline the halftime show dazzles the crowds at Super Bowl XXVII (27) and sets the standard for pop stars and the future of football’s biggest event. The King of Pop owned the stage and every moment of his performance. If 100,000 people had actually turned off their TVs like they claimed they did, Michael Jackson would still hold the record, with an audience of 133.4 million viewers.
Other notable performances featuring Black artists across the lengthy history of halftime shows include:
• Super Bowl XXII (22nd, 1988) – Chubby Checker appears with the Rockettes and 88 grand piano players.
• Super Bowl XXIX (29th, 1995) – Patti LaBelle & Teddy Pendergrass were featured along with Tony Bennett.
• Super Bowl XXX (30th, 1996) – Diana Ross dazzled in a red gown and even changed outfits mid-show.
• Super Bowl XXXI (31st, 1997) – A blend of James Brown appearing with ZZ Top and The Blues Brothers Band.
• Super Bowl XXXII (32nd, 1998) – A Motown tribute featured The Temptations, Smokey Robinson, Martha Reeves & The Vandellas, Queen Latifah, and Boyz II Men. Watching those young men of Boyz II Men sing about their mothers hits differently now, especially juxtaposed with Lamar’s solitary silhouette atop the GNX in New Orleans and his dancers, young men gathered under a street lamp.
• Super Bowl XXXIII (33rd, 1999) – Stevie Wonder joins Gloria Estefan and Big Bad Voodoo Daddy.
• Super Bowl XXXIV (34th, 2000) – Toni Braxton is featured.
• Super Bowl XXXV (35th, 2001) – Featured Mary J. Blige and Nelly.
So, let’s be clear: Black performers at the Super Bowl are not new. Hip-hop and rap at the Super Bowl are not new. For those suddenly enraged—why weren’t you bothered during the 39 other years when Black artists weren’t featured or headlined? The selection process has always been based on merit—the most talented for the job, period. Right?
And with DEI (diversity, equity, and inclusion) now the new taboo, let me ask: Why do some get upset when things aren’t diverse—when people who look like them aren’t centered or given an extra slot or quota on stage? Do you want equity and inclusion or not?
Kendrick Lamar is highly qualified. He won the 2018 Pulitzer Prize in Music for his album DAMN. He’s a 27-time Grammy winner, and one cannot deny that his 2024 diss track, Not Like Us, has the world on fire. Please, show me someone with better credentials who’s willing to perform a 13-minute Super Bowl halftime show—for free.
Let’s Dive into the Performance
Lights flash. I see nine squares and glowing X’s and O’s. I wonder—are we about to get Tic-Tac-Toe or something else? In the background, a power bar, formed of stadium lights or drones, begins to load. I know we’re about to witness something special.
More lights flash. The bar is almost at 100%, and I sit on the edge of my seat, expecting a high level of storytelling artistry from Lamar. According to Britannica, art is a visual object or experience consciously created through an expression of skill or imagination—and right now, skill and imagination are exactly what we need.
In a flash, a “Start Here” sign and arrow appear, pointing to the lone figure on the hood of a Buick GNX. Kendrick Lamar, a young Black man, crouches on the car. The image evokes loneliness—it’s dramatic, and I’m locked in as the gleaming black Buick GNX (Grand National Experimental) transforms into a clown car, packed with dancers spilling out. So many exit the vehicle that I later learn the seating had to be removed to fit them all into that tight, cramped space—not unlike bodies crammed into the hulls of ships.
On Instagram, Lamar writes about authenticity: “In the moment of confusion, the best thing you can do is find a GNX. Make you realize the only thing that matters in life is that original paperwork. That TL2 code. 1 of 547.”
What does original paperwork mean when you’re the descendant of chattel slavery? Is it the slave ship’s manifest that documented the theft of ancestors? The bill of sale from massas in the States or Grand Blancs in the Caribbean, depending on where your roots were auctioned off? Or is it the manumission papers, declaring your freedom—bought at a price?
This leads me down another rabbit hole: authenticity—who is American and who is not? In a country that often forgets to be kind to the foreigner (Leviticus 19:33-34), or that it was founded by immigrants—many seeking religious freedom, a fresh economic start, or escape from oppression—this question cuts deep. It’s a scar that never fully heals.
Did you know that, in the past—like I wrote about in Island Queen—people with any tint to their skin have had to carry manumission papers or proof of their free status to avoid being accosted? Many around the nation feel this burden now. We’re still caught in this cycle because we’ve banned the books that teach history and empathy.
Back to Football—America’s Game
I highly recommend reading Moving the Chains: The Civil Rights Protest That Saved the Saints and Transformed New Orleans by Erin Grayson Sapp, which examines the 1965 AFL All-Star Game boycott, where players protested against racial discrimination in New Orleans.
Another must-read is Race and Football in America: The Life and Legacy of George Taliaferro by Dawn Knight, chronicling the journey of George Taliaferro, the first African American drafted by an NFL team, and the challenges he faced.
Red, White, & Blues of Uncle Sam
The visuals cut to Uncle Sam—portrayed by Academy Honorary Award winner Samuel L. Jackson. With a film career grossing over $27 billion worldwide, making him the highest-grossing actor of all time, Jackson embodies this iconic American figure. Some might be wondering, What in the DEI is going on with this Black version of a fictional Americana, but it soon becomes clear: Uncle Sam is here to keep Lamar in line.
Jackson plays Uncle Sam as Uncle Tom. Uncle Tom’s Cabin, Harriet Beecher Stowe’s 1852 abolitionist novel, portrayed White men as morally bankrupt and Black individuals as either complicit in oppression or suffering under it. The book also depicted White women as the moral conscience of a system they benefited from, yet remained angelic through their Christian preaching. The novel ends with the enslaved Tom dying because he refuses to betray two Black women who have escaped. As he dies, he forgives his abusers.
The novel’s humane portrayal of enslaved people and its righteous female characters were said to have contributed to the start of the Civil War. Enraged Southerners banned the book. In the 1940s, Langston Hughes attempted to revive interest in it, but Richard Wright and James Baldwin criticized it, arguing that it promoted the image of an “Uncle Tom”—a Black person subservient to Whites or complicit in oppression.
In Lamar’s performance, Uncle Sam enforces the “party line” of American success. At times, he antagonizes Lamar, telling him, “You’re too loud, too reckless, too ghetto.” He dictates that since Lamar refuse to comply with the rules of the American game, he must be penalized: “Deduct one life.”
The death count is brutal—and so is American history, even without including the countless lives lost under enslavement:
• Fort Pillow Massacre (1864): Confederate soldiers slaughtered surrendering African American Federal troops stationed at Fort Pillow, Tennessee. Between 277 and 295 Union troops were killed.
• Memphis Massacre (1866): A White mob murdered 46 African Americans, most of whom were Union veterans.
• New Orleans Massacre (1866): A White mob killed 35 Black citizens and wounded 100 for peacefully gathering in support of a political meeting.
• Colfax Massacre (1873): A White militia massacred approximately 150 African American militia members who were attempting to surrender in Colfax, Louisiana.
• Wilmington Massacre (1898): A premeditated attack left 60 Black Americans dead as White supremacists sought to eliminate African American participation in government and permanently disenfranchise Black citizens.
• Atlanta Race Riot (1906): White mobs killed at least 12 African Americans and burned over 1,000 homes and businesses in Black neighborhoods.
• Springfield Race Riot (1908): The Illinois state militia was called to quell the chaos as a White mob shot innocent people, burned homes, looted stores, and mutilated and lynched Black residents.
• Chicago Race Riot (1919): The “Red Summer” began when a Black youth was stoned to death for swimming in an area reserved for Whites. Over 13 days of lawlessness, 23 African Americans were killed, 537 were injured, and 1,000 Black families were left homeless.
• Ocoee Massacre (1920): A massacre of Black residents in Ocoee, Florida, left approximately 30 dead.
• Tulsa Race Massacre (1921): Tulsa’s prosperous Black neighborhood of Greenwood, known as Black Wall Street, was destroyed—1,400 homes and businesses burned, nearly 10,000 people left homeless. Vanessa Miller’s The Filling Station is a poignant portrayal of the massacre and the resilient rebuilding that followed.
The sacrifice of Black lives makes Lamar’s imagery of tangled bodies forming the flag raw. It hit me in the pit of my stomach. I live knowing that the sacrifices and body counts will continue to rise, forming trending hashtags: #BreonnaTaylor #AhmaudArbery #TamirRice #TrayvonMartin #GeorgeFloyd
The Movement of Dancers
The visuals of Black dancers dressed in red, white, and blue moving around what is now clearly the game receiver mirror how many of us are on the X button—saying yes to conforming, to getting along, to advancing, to avoiding having our dreams burned up by a jealous or misinformed mob. When the dancers near the circle stage—the reject button—they enter a staircase that leads to a slope, which brings them back to where they started. Is that a metaphor suggesting we are better off right where we began before chasing conformance?
The Most Misunderstood Part: Serena Williams
Serena Williams, who once dated Drake, danced the Crip Walk on stage. Distraught commentators ground their teeth, calling it disrespectful for a forty-year-old mother to be dancing on the figurative grave of her ex.
The caucasity of this is the belief that this exhibition was about a man or a former relationship. Serena Williams is not just some “baby mother.” She was ranked No. 1 in the world in women’s singles by the Women’s Tennis Association (WTA) for 319 weeks—the third-most of all time. Williams has won 73 WTA Tour-level singles titles, including 23 major women’s singles titles. She is the only player to accomplish a career Golden Slam in both singles and doubles.
The Crip Walk is a celebration, notably adopted by her folks from her city of Compton, and it symbolizes the alliance of California street gangs, the Crips— as in Crips vs. Bloods. No, Serena is not part of a gang. But like the dance’s founder, Henry Crip—a Harlem dance legend who lost an arm and a leg in a car accident—she celebrates moving forward and achieving. Williams first did the Crip Walk in 2012 at Wimbledon, eliciting massive backlash for celebrating a huge win—for the girl from Compton.
Seeing her dance freely, hair flowing, I think of the Tignon Laws of New Orleans, which I mentioned in my podcast Consent in the Time When a Black Woman Can Say No, and the long history of policing Black women’s bodies. In Serena, I saw joy and celebration. If I am to think of Drake at all—a man who has used Serena’s name in diss songs—I see freedom from a toxic relationship. That’s cathartic.
Ok, Now the Hotep Or Too Deep to be Real Take
Lamar does say he is a stargazer, so maybe the 16 stars on Uncle Sam’s jacket resemble the Little Dipper. if I squint, I can see it. But the talk online about the design representing the 16 free states—states that prohibited slavery between 1850 and 1858—seems like a stretch. These arbitrary dates are supposedly tied to U.S. naval activities interrupting the slave trade.
I’m not buying this. The U.S. Navy’s role against stopping transport began in 1820 when warships deployed off West Africa tried to catch American slave ships, but enforcement was sporadic until the Navy deployed a permanent African Squadron in 1842. Last time I checked, 1850 and 1842 are different years. A rounding error won’t make them the same.
By 1858, there were 32 states in the Union, including Minnesota, which was admitted on May 11, 1858. California was the 31st state, admitted on September 9, 1850. If I count the list of free states—states that prohibited slavery—I get 17:
1. Pennsylvania – December 12, 1787
2. New Jersey – December 18, 1787
3. Connecticut – January 9, 1788
4. Massachusetts – February 6, 1788
5. New Hampshire – June 21, 1788
6. New York – July 26, 1788
7. Rhode Island – May 29, 1790
8. Vermont – March 4, 1791
9. Ohio – March 1, 1803
10. Indiana – December 11, 1816
11. Illinois – December 3, 1818
12. Maine – March 15, 1820
13. Michigan – January 26, 1837
14. Iowa – December 28, 1846
15. Wisconsin – May 29, 1848
16. California – September 9, 1850
17. Minnesota – May 11, 1858
So the math and the facts aren’t jiving. Kendrick Lamar is very precise in his lyrics. An arbitrary number or pattern doesn’t seem to be his M.O. I could stretch and say he mentions losing 16 friends in his song “wacced out murals,” but then I’m just spitballing.
Not everything has a direct meaning, but that’s the beauty of art—it can mean many different things to different people. Kendrick Lamar and his performance is art and it should be applauded for making us all stop and think.
Ending the American Game
As the last notes of “Not Like Us” finishes, Lamar and company launch into “TV Off.” When he finishes the rap, he holds up a virtual remote, turns it off, and forces the stage to go dark. In lights, we see the sign: Game Over. Does he mean the American game is over because we refuse to learn from the past or that he’s stop playing the game? Lights out—Is that symbolic of a Revolution being televised until it’s not? Is the American Game going to stop feeding on Black life, Black culture, and Black breath? What happens if every American, turns off the TV, the cellphone, social media, etc. and stops playing the game?
America is founded with the God-given right to have differences of opinions. Of being able to choose your path, to dream the biggest dreams, and to make them happen—on or off the field. Whether we play the game or not, movement, not standing still, is how we inch forward toward the goal posts. It’s how we will awaken and form a more perfect union.
Images are screenshots of ROC Nation and Apple Music feeds.
This is a public episode. If you’d like to discuss this with other subscribers or get access to bonus episodes, visit vanessariley.substack.com/subscribe
Tories, Whigs, Foxite-Whigs, oh my. What shall become of us, Lord?
The government is not stable, barely lasting two years. My fears of invasion, a total loss of the country I know and love, fills my heart.
How can Providence allow such upheavals?
Why change from Pitt, to Grenville, to Portland? Is the title of Prime Minister difficult to hold?
I know I am just a woman. I should contend myself to my needlework. Surely, there are enough ribbons to be added to little Mary’s gown to make my mind numb to fear.
Yet, how can I even think of my girl coming of age in times like these. My heart aches at seeing her cast into this society where dissension reigns. She cannot be a war bride. No! Not her.
My thumb has turned painful. I yank the needle freeing it from the swelling flesh. I’ve pricked finger and stained the satin hem.
Is this coursing of rouge a sign to come? Don’t our enemies in France lay in wait for our weakness? This turmoil is the proper time to strike.
I dispatch my maid for fresh muslin. I will not ruin anymore ribbons with my wringing of hands. Doubt will not save my country.
As I swaddle my hands in the soft cloth, my palms meet. A peace settles on my shoulders. The churning of my stomach quiets. I remember Your words.
Romans 13:1-4
1 Let every soul be subject unto the higher powers. For there is no power but of God: the powers that be are ordained of God.
2 Whosoever therefore resisteth the power, resisteth the ordinance of God: and they that resist shall receive to themselves damnation.
3 For rulers are not a terror to good works, but to the evil. Wilt thou then not be afraid of the power? do that which is good, and thou shalt have praise of the same:
4 For he is the minister of God to thee for good. But if thou do that which is evil, be afraid; for he beareth not the sword in vain: for he is the minister of God, a revenger to execute wrath upon him that doeth evil.
So Pitt, Grenville and now Portland… You ordained them to be Prime Minister, in such a time as these?
I slump in my chair. The very thought of this contention being God’s will disheartens me. Yet, the soft words of the passage sing in my soul.
Romans 13:5-7
5 Wherefore ye must needs be subject, not only for wrath, but also for conscience sake.
6 For this cause pay ye tribute also: for they are God’s ministers, attending continually upon this very thing.
7 Render therefore to all their dues: tribute to whom tribute is due; custom to whom custom; fear to whom fear; honour to whom honour.
Now my heart is pricked. For I have not given tribute to the governing, just gossip and trepidation. I repent of that Lord. I uncover my hands, slapping flesh to flesh, and pay tribute. I pray for Providence’s guidance and mercy to fall upon my leaders. It is the best offering I can render.
It’s universally known that everyone who has a career or talent that intersects with the public must learn to deal with waiting. Everyone waits. Whether a king or a servant, a politician or a bank teller, time slows down while you wait to receive or give something. Even though the physical globe continues to rotate around the sun, our present circle will seem stopped or stuck. It’s an uneasy feeling that grows and can become unbearable the longer the wait time.
Creatives, especially writers know at some point in their career, will have to wait. Let’s dive into this world. Early on, it’s waiting for the right idea. Then, it’s waiting to find time to write. After that, we wait on edits or feedback from workshops, peers, or critique groups. If you are pursuing a traditional path, we wait for the magic call or Zoom with an agent announcing they love our voice and wish to sign us. Then, there’s the ultimate wait when, as a traditional author, one anguishes for a positive response from an editor at a publishing house. We want that “yes.” We crave that affirmation that we’ve written something that matters.
For indie authors, the struggles may look different, but waiting is still inevitable. You might be waiting on cover designers, layout artists, or formatters to deliver essential elements for book production. But no matter how we publish, all authors wait for early reviews and to see how fans and new readers react.
I’m reminded of a keynote I once heard Walter Mosley give. He was joking with his close friend, Gregory Hines, about how his world would change now that he had received his long-awaited “yes”. His risks were finally paying off, both literally and figuratively. But Hines, in his wisdom, simply told him, “Don’t worry, you’ll be broke again.” Mosley acknowledged that Hines was right and drew a big laugh from the National Book Club conference admitting that he was again and again.
Vanessa meets Walter Mosley at the 2024 National Bookclub Conference in Atlanta.
As authors, we will always be in a waiting game until we stop writing. We will be waiting on contracts, ad placements, book launches, or even the next words to come. But waiting doesn’t mean sitting around, worrying while we stave off dread. Waiting should be active.
Waiting involves an expectation that things will work together for our good (Romans 8:28). We must prepare for the next step (James 5:7). I want to act as if the answer is yes. I work in the present to be ready for the blessings. I never expect the worst. I try to be joyful until I have a reason to cry.
And let’s be real. Sometimes, the answer is no. Sometimes, it’s a kick in the gut—the realization that this good thing was not for you. It’s okay to grieve. We are human. We can be sad.
Yet, when we feel like we’ve blown it, we must remember that we are seen. We are not forgotten. I love how Psalmist puts it in Psalms 40:1-3:
“I waited patiently for the Lord; he inclined to me and heard my cry. He drew me up from the pit of destruction, out of the miry bog, and set my feet upon a rock, making my steps secure. He put a new song in my mouth, a song of praise.”
So rejoice in the good. Weep in the sadness. And know we are not alone.
The Waiting Winners Timeline.
Fortunately or unfortunately, I have a list of some of the great waits that eventually paid off. History is full of people who had to wait long periods for their dreams and recognition to come true:
• Sister Rosetta Tharpe (1915–1973) – The “Godmother of Rock and Roll” influenced Chuck Berry and Elvis Presley but wasn’t fully acknowledged until her induction into the Rock and Roll Hall of Fame in 2018.
• Cicely Tyson (1924–2021) – Though she acted for decades and delivered groundbreaking performances in Sounder (1972) and The Autobiography of Miss Jane Pittman (1974), she never received her full due until 2018 when forty-six years later, Cicely was presented with an honorary Oscar for her lifetime achievements. She was in her 90s.• Zora Neale Hurston (1891–1960) – As I mentioned in earlier episodes, Ride or Die or Get Out of the Way and Grab Somerset Gumbo, Your Best Girl, and Go, Zora’s work during the Harlem Renaissance was intentionally buried by gatekeepers. She died in poverty and obscurity, and her work had to be rediscovered a full decade after her death. I will say this a thousand times: This is not the way. Death and poverty should never be requirements for a writer’s success.• Octavia Butler (1947–2006) – Octavia’s first published work was a short story called Crossover in 1971. Her first novel, published by Doubleday in 1976, was just the beginning. The visionary science fiction writer, who won Hugo (1984) and Nebula Awards (1985), struggled for mainstream success until she published Parable of the Sower in 1993 and won the MacArthur Fellowship in 1995. That’s more than 22 years of waiting. The world is forever grateful for Octavia’s perseverance
• Walter Mosley – Walter started writing in the 1980s, and his first novel, Devil in a Blue Dress, was published by WW Norton on June 19, 1990. He faced several years of difficulty in getting published because publishers didn’t think there was an audience for Black detective fiction. Once it sold, it became a classic, even being adapted into a movie starring Denzel Washington.
One could say it all paid off. Perhaps. But I’m sure that the waiting wasn’t easy or sweet. I am thankful that each persevered with their gifts and changed the world.
How to Productively Wait
Since waiting is inevitable, I made a list of practical ways to stay productive and engaged:
1. Don’t Obsess—Rest: Avoid refreshing your inbox constantly. Do chores. Volunteer. Don’t obsess on reels or social media, but do find ways to bless someone else.
2. Read Widely: Explore new releases, classics, nonfiction, and poetry to inspire new ideas. This is something I do. It’s one of the reasons I confidently write in three genres—historical fiction, romance, and mystery. My voice adapts. I give readers of these genres what they want, what they expect, because I learn from all good stories. Sister Mother Warrior, about the two women who shaped the Haitian Revolution, is my most literary work, but it’s also the most muscular novel I’ve published. Its heft comes from a lot of nonfiction, including books on war and diaspora poetry.
3. Take a Class: Study writing guides or attend workshops. Some great books to consider:
Writers realize that all competitions are not created equal. Some have implicit bias. Do your homework before submitting. I don’t want your work stolen or misrepresented or fumbled by hands that should never had touched your creation in the first place
8. Stay Informed on Industry Trends: Keep up with publishing news, avoid scams, and research new agents and publishers and marketplaces.
9. Plan Your Marketing Strategy: Work on your launch plan and outreach to bloggers and media, so you are ready when you get your yes.
10. Replenish Creativity: Step away when needed—travel, pick up a hobby, or simply rest.
11. (Bonus Point) Start a New Project: If you’re querying, don’t immediately start book two in your series. Instead, write something fresh that could be your breakthrough project.
Embrace the Wait
Waiting is hard, but it doesn’t have to be unproductive or soul-crushing. It’s part of our process. It’s formative to our seasons of growth. We have to be prepared, or we will not harvest and allow our fruit to rot. Remember, everything worthwhile takes time. Every success story has had its pauses. The key to getting through to the light is to fill the waiting with purpose. Whether you are a seasoned pro or just getting into the business (the publishing game), trust that waiting always comes before your journey unfolds.
Keep writing.Keep learning.Keep going.And when that long-awaited “yes” finally comes, enjoy it. Bask in the joy. And remember how it feels, because, as Brother Mosley indicated, you will go through it again.
The lists of books mentioned in the podcast are listed below. Included links support Loyalty Bookstore via Bookshop.org:
Butler, Octavia E. Crossover: Short Story: Fragments. Edited by Robin Scott Wilson, Clarion, June 1971, Signet / New American Library. OEB 337, ca. 1970.
Thank you for listening. Hopefully, you’ll come again. This is Vanessa Riley.
This is a public episode. If you’d like to discuss this with other subscribers or get access to bonus episodes, visit vanessariley.substack.com/subscribe
