dearest woo-tang clan,

i’ve been writing on this platform for three years ticking over 1111 days. srly wtf. this is longer than most boyfriends i’ve had or homes i’ve lived in lol— and i believe i am experiencing some kinda three year itch. so i am taking a three month break to focus on a illustrated book due to be published in 2027— more on that in spring.

before i head off into hibernation, here are the three notes i received in meditation reflecting on this commitment to publishing on and how this merciless (lol) and mind-bending relationship paved the way to landing a book deal.

SHARE THE WOO

part I.

1. truth.

   write what you know. be true from the depths of your heart. this resonance resonates at the vibrations of others who are seeking the integration of truth, that is truthful to them and to you in that given moment of time. the truth can only be from what you know deep within from your knowledge centre in the gut and connects to the higher heart and crown chakras to source and higher celestials.

   it’s like a beam of light fractals that shine onto you in a precise shard, a chord, a note that is music to your ears. write in that key of truth, as much as possible.

2. commitment.

   to commit to a regular practice is to commit fully and wholeheartedly to the mission, commission or frisson you wish to make. to commit to a practice of expression is to commit to your soul and your higher self to express yourself in the highest order and resonance available to you. this commitment is unwavering and strong when you surrender yourself to it.

   a weekly practice is beneficial for flow and fluidity and also for followers of your expression and output to create a regular package of sorts, an offering much like a newspaper landing on your doorstep.

3. illustration.

   illustrating provides the pictures that words cannot speak. as action speaks louder than words, drawings speak softer than words, providing a backbone, an accompaniment much like a cello and piano duet— each amplifies the quality and beauty of each other. the fusion of words and pictures is a gift to the humankind— that we have the power and the modality of written words and shapes that form pictorial messages available in our human toolkit for consumption and context and conversation.

   the magic of words and pictures is a joy and pleasure to the world at large. may we always indulge in the beauty and the bonafide joy that a story gives with the partnership of pictures.

pt II.

this is a bunch of illustrations i’ve published over the three years here. they generally take a couple hours to complete. it’s the most enjoyable part of assembling a newsletter, when the content is written and the illustration must be drawn from it. when the words and pictures come together, i get a real kick outta’ it. plus with the onslaught of AI generated images, it’s fun to go against the cyber grain and low-key protest with human scribbles.

3 years of human hand drawn scribbles

seeya in spring/september :)

love d xx

dear readers & listeners,

my friend and fellow creative asked recently if i would like to interview her on her podcast— the world needs creatives podcast. last year i had appeared as a guest in season 2, episode 16 on conversations across realms, embodying grief & clearing karmic knots. you can listen to the interview via spotify.

this year and for season 3— we swapped seats and i got the chance to play podcast host. so, if you’re keen to hear me ask a lot of questions (and sometimes not wait for the answers) and ask deep meaningful questions of this ilk— “and more importantly rach, what were you wearing?” (lol) then, this could be cuppa tea.

lol’s aside— i loved this conversation. while i feel i understand rachael as a fellow creative and meditator very well, i don’t know much about her life/story. so it was fun and insightful to probe and pause on her colourful upbringing, former corporate life and the artist management career that lead to the creation of her aptly named podcast the world needs creatives.

enjoy.

love & xx

ps. kindly tap the heart to like, add a comment or re-stack with note— it sends love beams right into my heart :)

dearest writers, readers, crafts-men & woo-men,

this newsletter is the third and final part of a three-part series: the three steps to self-publishing. if you prefer to listen, i have recorded them all with voiceover. tap the ▶️ above.

1. the woo: finding your story through awareness

2. the way: doing the work through dedication

3. the why: sharing your story though (self)publishing

the words below are transcribed from what i call my meditation notes, or through a process of receiving from my higher self. please note any reference to god, buddha or of that ilk can be replaced with a venerable or vernacular that suits your lens in life.

part I.

when you finish collating or writing or illustrating your manuscript to a standard that you feel fit for print you will be approaching the question of self-publishing versus traditional publishing. we are here today to focus on the selfies— the folks who don’t know how to play the publishing big wigs game or have tried and failed or you know you have an incredibly unique offering that won’t be received by the masses, so you have chosen to enter the self delivery and deliverance route where you will oversee and overcome all obstacles of the production and printing gamut.

you will run the entire course by yourself, without any aid or assistance at the half-way mark. you have chosen to see this project or craft, all the way through. which is commendable and applaudable but lets save the hurrahs for the finish line. at this point you will feel ready to press print. you may have elicited a copy editor and/or a book designer to help you layout your words and pictures or you may have managed this yourself through an online printing house with presets for self-publishing.

whatever the case, be it a soft or hard cover, the main part of this step is recognising that you have taken the steps towards sharing and bearing your soul and your story to the world. you have chosen to offer wisdom, your whimsy, your service and devotion to sharing on a world stage. so you must commit to pushing the book out in the exterior world as much as you can muster and mince and make in the global market.

pushing the print button is the easy part. dealing with the printed produce is the toughest part. you will have an inventory of 500, 1000, 1500 or 5000 books, that you felt feasible and favourable to produce. the next stage is managing the channels in which this project, this offering, can move through. prior to print, you may have informed your friends, family, foes and favourable followers about your craft and that it will be available on [insert date].

however this is not a pr darling or media advice column. we are here to understand the true nature of punishing— i mean publishing through the act of deliverance. the true noble act of sharing your story is one that has stemmed from ancient civilisations when humans gathered in pantheons and stages to share stories of woe and winning, of love and disaster and despair and irrepair.

treat this process as your soap box— as it is your time to shine and be seen with your craft and your creation, boosting your morale and your moral obligation to your souls yearnings and learning the higher soul lessons of self-awareness, which leads to self-dedication and determination, which in turn leads to true manifestation of the intangible into the tangible.

it is the complete arc of the rainbow and the hero’s journey and the act of submitting and committing oneself to an act larger and greater and of more significance than had been done before, for the craftsman or woo-man. this final act of delivery, of launch— is the take-off to reach greater heights, to traverse the stars to further explore the cosmic grid, to catapult humanity into the sky and beyond.

this daring act of sharing pushes humans into a higher conscious orbit, so that we can see that it is not about us as individual sparks, but as sparks of a whole space machine— where we are all cogs and parts and bits and bobs— all forming a greater, grander unit of consciousness and that information is to be shared, that wisdom is to be given, that love always wins— even when the world falls apart at its seams— as we are all capable of sharing this world, this stage, this soapbox together.

behold a future where your story, your book is apart of a giant, galactic library where all information is open and free to read and absorb by any soul— this is called the akashic library. it does exist— and it will now have an imprint of yours within its shelves. may we all delve into our imaginations and sensations to always share and know that some one, some soul will care to listen with their heart.

love dee (woo) tang xx

ps. perhaps there is a step 4: self-funding to this series. i went through this process of crowdfunding for my first book love is. please comment if you would like to know more about this with kickstarter.

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COMMENT ON SELF-PUBLISH

dearest readers, writers, crafters,

last week i began a three part series: the three steps to self-publishing which began with awareness.

1. the woo: finding your story through awareness

2. the way: doing the work through dedication

3. the why: sharing your story though (self)publishing

this week i share notes on part two— the way : doing the work through dedication. please note any reference to god or heaven can be replaced with a venerable or vernacular that suits your lens in life.

part I.

the art of self-dedication to your craft begins with awareness that the task/endeavour/love project at hand is of great value and worth to you. you must understand the intrinsic value it has not only to you but also potentially the world at large as stage three will be sharing and bearing your soul and story to el mundo. it is imperative to gain this awareness so that it can and will be applied to the dedication of your craft.

if you imagine that your book is a spacecraft or it’s like running a marathon, you must learn to pace yourself and gain momentum and ride with the tide that is presented to you. there are always obstacles and obstructions, however you must and you will learn to overcome and outrun these hurdles. placed in your way and path to test you, to trick you and to truly check— is this what you are meant to be doing, in this moment of time and space.

your ‘space craft’ must be constructed from scratch, much like baking a cake or planning a race, you must know what you are in for, in terms of components and chapters— pages and phrases will come later. beginning with all the main components and general layout or structure will mean you can fill in the bones and then the sinewy stuff as you go and you must not lose faith, if a piece or part doesn’t fit or favour the greater whole. you must not retire your dream, your mission of lifting off into space.

keep a memento or a keepsake, a phrase or a picture close, that always reminds you of the greater sum and whole embodiment of what you are doing and hoping to achieve with the outcome of a physical, tangible hard or softcover book. your dedication here will determine the workflow, the speed in which you create and the flow in which you may or may not encounter while writing your heart away.

your dedication is the sole motivator, the chi, the muscle that never stops working, even for a holiday or day away or vacay. how dedicated you are will be determined by how willing you are to say no to social entanglements or engagements or in ‘writers speak’— time-suckers who suck minutes, hours and days away from your craft.

your dedication to your craft will also be determined by your ability to press on, when ‘times get tough’ as they say on earth. when sh** hits the fan, when life takes a hold of you, when someone dies, when someones leaves you or cheats on you, when your car explodes, when your kids are injured, sick or in trouble, when your mates are depressed, when the world feels like its ending, when there is impending war or a pandemic, when your dog dies and when you run out of money or momentum.

despite all of this and in spite of it all— you stay focused on the task at hand, because you are a creature of dedication and you know deeply in your heart to hearts, you have words to say and you have yearnings to share and that your hearts voice will prevail and it will be heard and seen and resonate with those aligned to the frequency in which it speaks.

despite the walls caving in and despite the worlds ending, you find a way into creation and dedication and you soldier on and toil on and on, until the daily task at hand is done. this is the path of dedication and if you don’t have it, you must summon it and ask your guides, your god, grand source consciousness, your angels, your loved ones, your higher self, the earth mother and your own family and friends to help you— to steer you back on track to fulfil your hearts calling.

you must summon the will and dedication to your craft, otherwise it will end up in the pit of discarded dreams and broken parts of ideas, pieces of spaceships all scattered into a gigantic space tip, where dreams go to die and lie— not peacefully but in the hope that one day, they will be retrieved and resuscitated and revived back into life and reassembled and reimagined into a complete space craft, reading to fly and complete its mission of telling the full story, powered by the heart and art of its creator who applied the art of dedication to see its mission accomplished.

the soul lesson of dedication is imperative to our world’s evolution and movement into the future era. we are crafting human souls who must carry this notion, this character and resolution of dedication. it is a frequency that artists, creatives, writers, inventors and business entrepreneurs carry within them and now is the time on earth to test this dedication to carrying the card and creating crafts for our next generation.

stay in the mindset of dedication and you will reap the reward of great, unfathomable joy and elation beyond your comprehension. good luck and good tidings for this epic ride ahead in depth and determination and dedication.

part II.

i began assembling my book during the pandemic in early 2020. all these notes i had written down on scraps of paper, stuck to my walls and in my notebooks began to emerge in the form of a book. in the year before, in meditation i had seen a book appear in my minds eye— title love is. with the word Love stacked on top of the is. part. i pencilled it down, ripped it out and stuck it to my collage wall.

social disentanglement was being practiced the world over. there was no excuse, there was no better time, there were no outside distractions. i had just had my third child and he was in that sweet infantile stage of feeding, sleeping and cuddling long hours. my artist husband quietly nudged me to begin this book journey. we split up our day, so we would do half days dedicated to our work and the other half parenting. i began doing what i had never, ever done before — writing and illustrating a book.

in hindsight, this period of global unrest became a blessing in disguise. while the exterior world felt like it was falling apart and sideways, i was quietly building and assembling the interiors of my heart space and laying them on the page. i began stringing verses, matching rhymes, finding context and putting all the puzzle pieces sent from above together. i began sketching what i could, with my limited drawing capabilities. i had begun the mini marathon task of what would end up in the form of a picture book.

over that year and into the next i carried on— a story book was emerging. when the written words felt complete, i moved onto illustrating. looking back, i see this was the mid-point, the mid-race, the hardest part of the track. while i have been sketching and designing for a large part of my life, i had never contemplated drawing an entire picture book with twenty professional standard illustrations. i asked my husband not to comment or offer help until i asked for it.

over the span of eighteen months, as my little guy began walking and then talking, the book grew alongside him. i fumbled and tumbled and toiled away through unchartered waters every day. when i lost grounding— i tuned into my angel daughter kawa who art directed from above. when covid wreaked havoc across the globe, i pressed on. when socialising became less stringent, i stuck to my anti-social guns. when the overwhelm got too much, i reminded myself to focus on the task at hand.

by the spring of 2021 i had a fully illustrated picture book manuscript ready for printing. next came the question of self-publishing vs traditional publishing— which will be shared next week in part 3. the why: sharing your story though (self)publishing.

thank you for being here. tap the heart to like, it really does send beams to my heart :)

love d (woo-tang) xx

ps. steven pressfields reply.

SHARE DEDICATION

COMMENT ON DEDICATION

dearest woo (woo) tang clan,

this week is the first of a three part series on self-publishing. this is my attempt to plan *cough* and write in more of a cohesive manner of tying newsletters together that flow and fit together. for the next three weeks of september, i will share the three steps towards self-publishing that i have received through the practice of meditation writing.

1. the woo: finding your story through awareness

2. the way: doing the work through dedication

3. the why: sharing your story though (self)publishing

in part I i transcribe the first set of notes received on self awareness. in part II i share a short film that elucidates how i became aware that there was a book— waiting to be made, by my hands and through my lens.

part I.

i am writing three articles on the matter of self-awareness through to self dedication and then self-publishing. the first begins with the awareness— that you have something to share and you care deeply about [insert topic/story/situation] that you can’t possibly keep inside anymore, otherwise you might die from the internal combustion from not expressing what runs through your veins and blood to the tip of your fingers.

you may express through words in a sonnet, a poem or verse or its a novella buried within you or a story time book laden with illustrations or its a science fiction cappella or it’s a murder mystery. whatever you have locked and buried or hiding within that you have attuned to on a frequency that your ears are pricked to, must then be unleashed into the words which we use today as humans— in the english tongue or through imagery that moves beyond words, which we call art.

back to the book—you see, the book and you made a pact before you land here on earth. in a not-so-distant future, the book already exists. you just have to take the steps to reach it and put in the work to create it— that’s all. self awareness is the first step in delivery and deliverance before we can move into self dedication and then thirdly self publishing.

your awareness that you must bring this experience into light will be brought forth to you in a series of synchronicities. you must not ignore them, as they are the calling, the messages from your guides from god/source consciousness, your loved ones and your higher self— all dropping hints, so that you begin to see and know and become aware that you are being steered into creation and self-expression that will land into the physical form of a book.

you can attune further by asking— what am i to express and what are the means or medium i must use to express the intangible into tangible form? — and the answers will come. they will presented to you, to enjoy and experiment with and you will feel a great sense of joy, when the process feels right, is in lightness or darkness of the hearts murmurings. you will feel elated when you churn and turn this internal fire and desperate need to express, into a devotion. from the awareness you will graduate into a practice of devotion, much like working out everyday or a meditation practice.

a ‘writing’ practice is a devotional art form humans have indulged and divulged since the development of words and symbols. so, pick up your pencil, your pen, your quill and begin— as you must begin somewhere and along the way, you will encounter obstacles and observations of the heart, and you will find flow (which never lasts) so enjoy the tide when it rides in your favour and you will encounter storms and frustrations, anguish and perhaps anger.

you will learn to ride the tide, in this process of creation and you will learn to steer in the moment and to focus on the task at hand, in your hands— in the word, the sentence, then the paragraph, then page, then chapter, then part, then the book you are assembling. when it becomes overwhelming, go back to the awareness of the task at hand— a line, an adjective, a description, a litany, an alliteration. it is just your hearts yearning and learning to express in the best way it knows to be possible within the confines and constriction of the english language.

you will find moments of sheer joy and a great rush of wind, when your sails are full mast and in those moments, ride the momentum and enjoy the feeling of free-wheeling and dealing with dolphins who swim alongside and remind you— life of a writer is so good right now— and when that moment is over, do not lament their passing but know it was just apart of the story, the paragraph punctuated with porpoise, that you and the story needed a breather and lightness.

good luck and good steed and thank you for choosing your own adventure. every word expressed by the heart space, expands our human consciousness and our steps towards evolving into a more loving, caring and expressive creatures who use words weapons over guns and choose vocabulary over violence and telling stories of suffering rather than creating physical suffering.

you are a magical being put on earth to express of the highest order.

you have been given the task of sharing through words and wonder and the greatest tragedy ever told, is a story that is untold.

part II.

this is a 2 minute film created for crowdfunding through kickstarter (more on that later) to self-publish my first book. i share the process of coming into awareness, by picking up on the clues from the spiritual realm and accepting the task of writing and illustrating a project that would become love is. filmed by rae fallon (2021).

love d xx

ps. related newsletters that you might dig on creativity. the one on creative copycats issue 14. or the one with a creative mantra issue 86 or the one on where creativity comes from issue 21 or one on the world needs creatives issue 69.

COMMENT ON WOO

SHARE AWARENESS

dearest readers,

this week lets tune into rejection. in part I i share my earth-bound lens and the very new and humbling experience of pitching to publishers and welcoming rejection. in part II i received meditation notes from my higher self and guides on the soul lesson of submitting.

part I.

i have learnt that rejection (and romance) is truly a two-step process. in order to be rejected, you must first take action to submit. so i did— and submitted a non-fiction manuscript to an australian publisher rockpool in march and followed it up with submitting a picture book manuscript. this type of yang driven action, i a-liken to asking someone out. so i asked them out on a blind date, basically.

my submittal or pitch or pick up line to the publisher is not dissimilar to creating a tinder profile— where i make my best attempt with the tools and knowledge available in that moment of time, to present as awesome and dateable as possible on paper or pdf even, so that they will accept my pitch and publish my book— or at least say yes to a first date/meeting.

however this was not the case with my first submittal/attempt to ask a publisher out. i received my first rejection ‘letter’ for the submission #6805 (non-fiction manuscript) recently and then yesterday i received a second rejection for submission #6806 (picture book manuscript) from the same publisher. yes, i asked them out twice with slightly different pick up lines and outfits and they declined twice. below are screenshots of the emails received for submission #6805 and #6806. the rejections are the same, stock standard reply.

my strange wish for encouraging or even disparaging feedback was dashed. i couldn’t help but feel a little disappointed that the rejection reply was the same monotonous rejection. like someone sending the same exact *yawn* text to every person who asked them out— not even changing the emoji. i couldn’t help but wish that my rejection letter was a little cuter or even a little more belittling— because any feedback could be good feedback and would give me something to work on for my next pitch.

the rejection does put me in good company with many scribes who have had their manuscripts declined numerous times. j.k rowlings’ first manuscript harry Potter and the philosopher's stone was rejected by 12 publishers. stephen king's first novel carrie was rejected by 30 publishers before it was published. dr. seuss’s first book was rejected 27 times. joseph heller’s catch-22 was rejected 22 times. eckhart tolle's book the power of now was rejected 15 times.

and while it sucks to be rejected there is also something affirming, something final and something definitive that it spells out— WE DON’T LIKE YOU. WE DON’T WANT YOU. PLS DON’T BOTHER US AGAIN. the rejection is loud and clear, no if’s or buts. instead of being just left hanging there, neither here or there, where the sound of silence is more a loud whisper— WE CAN’T EVEN BE F**KED TO TELL YOU THAT YOU SUCK. WE DIDN’T EVEN BOTHER TO READ IT.

so in light of this beige and benign rejection, i have illustrated my own version of the first rejection letter. this is my rejection of the rejection letter itself, not so much the rejection. in the filmic scenes playing out in my mind, the ideal lettre de refus is scripted in calligraphy or typed on a loud typewriter, slightly snooty or downright snobby in tone— then stamped and sealed with one of those fancy wax blobs with a narrators voiceover seething as they read it aloud in a voice like harry potters professor snape.

part II.

submitting is the only way for to learn the yang lesson of action and the way the masculine in many ways have to present themselves in society. they have to submit and offer themselves up to their leading ladies or men and they have to peacock and show off their most favourable qualities in an act, similar to preening or pea-cocking or just plain showing off.

men or the masculine-oriented have this task in hand if they want to ‘score’ or aim to get the ‘best’ catch of the day or in their lives. generally it is the male or masculine trait to ‘accost’, ‘attack’ or apply the moves on their unsuspecting victims and generally those more steeped in their feminine are to receive willingly or reject.

you must submit to subdue your souls yearning. this is similar to pitching— as you must ask, in order to be received. but you cannot receive a ball back in your hand, if you have not stepped up to the plate and pitched as best as you can possibly conceive in that moment of time and space reality.

there is a window open now to enter the realm of infinite and incandescent wonder making. it is an exciting and exalted place to be — the window is open, so do not waste, make haste and pitch away.

love woo-tang xx

ps. related posts you may enjoy or reject :)

♡ COMMENT ON REJECTION ♡

dearest woo-tang clan,

i’ve recently surpassed the two year mark here on substack. strangely, it didn’t feel celebratory— it felt distant and discombobulating. similar to when i was eighteen and i had been seeing the same dude for almost two years — and just as the anniversary mark was approaching, it hit me— what the f** am i doing? where is this going? what does this all mean? why am i doing this? and i took off to spain to “study” and find myself (and party) for a year.

i find myself in a similar boat again here on substack— except now i am forty-three and not sailing to ibiza for my nineteenth birthday. however there is the same wanton desire to jump ship— to take off to spain albeit in a metaphysical way— to find a form of expression beyond the boundaries of what i have set up for myself over the last couple of years. however before i begin to break the self-induced shackles, here are some notes on what i’ve learn from a two year commitment to and #90 issues here.

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1. tapping the like ♡ button while it doesn’t mean much, it also means a lot.

a tap on substack is like a tap on the back, a congratulatory “well done mate, for pouring out your hearts content on the floor and walls. well done for spilling the beans, your guts, your hearts yearnings and learnings!”. one like here means more than a hundred hearts on instagram. *tap heart*

2. you’re not here for the money.

much like the two dudes who told their side of the story in the michael jackson neverland documentary— they/i am not in it for the money. after two years and 1000+ hours devoted here, i have earned roughly $2k per year here. that works out to be around $44 AUD per post, which is like $5 (3 USD) per hour. so, lets stop counting there lol.

we write (yes, i am generalising for all writers here) because we must express, or else we will surely combust. i often feel if i don’t express myself through some form of words or pictures or an outfit i will surely die.

#writeordie

3. substack is safe.

i feel extremely safe to share here, much like a closed circle in a ceremony. i feel at ease to be my fully fledged woo-woo tang self and allowing my spiritual wings to expand here in the audience of self signed-up subscribers. i feel safe to share meditation notes on what i receive from my higher self and guides and translate them into a newsletter format here. this has never been the case with instagram despite having been an active creator for over twelve years.

substack has allowed me to explore themes i never feel safe to delve and deep dive into on any other social platform. i have written about death and grief, god and goddesses, channelling and chakras, ayahuasca and mushroom ceremony, soul mates and and soul purpose, vintage overalls and vintage chairs.

4. substack has taught me to meet self-imposed deadlines.

it took me around six months before i began writing here regularly. when i finally did publish my first post in april 2023 i made the commitment to publishing every sunday and posting it at exactly the time of 5.23am AWST. i also committed to producing any visual content myself — not relying on photographs or imagery from anyone else. i would either draw or use photos i had produced or pictures from my moleskine.

5. substack has given me space to grow as an illustrator.

in my second year here, i made an additional commitment to illustrate a new drawing with procreate and pencil for each newsletter. i wanted to stretch my sketching muscles and produce drawings with esoteric and playful content, in a designated frame of time. substack has served as a rehearsal stage for translating non-physical ideas into illustrations and spiritual concepts into physical pictures, which i would never have attempted prior to this. it’s added another dimension, visual point of difference, continuity and personality to the newsletter particularly with the increased use of AI generated pictures.

6. substack has trained me to deliver an imperfect newsletter and to let that be.

the perfectionist in me has let her guard and hair down a little here and the inner critic has taken a backseat. writing, illustrating and publishing regularly has taken the edge off exposing and expressing on a regular basis— much like breastfeeding in public. after weeks and months of pulling your tit out in public— you can do it with glazed over eyes and a less-care-y air.

7. substack readers/subscribers engage with you in other ways of communication.

i don’t get many likes here however the readership is considerably high. the average open rate is over 50%. this means of all the 1600 subscribers to woo-tang more than half will open and potentially read the newsletter sent out to them. this is a high rate compared to a business EDM (electronic direct email) that i would send via my business platform kawa heart studio where the open rate hovers around 25%.

i also receive cute replies via email from readers or direct messages from friends and family who subscribe to the newsletter. i often have folks telling me in person that they have read my post and enjoyed it.

8. substack has become rather social lately.

while substack has become more social with its feed and followers, i don’t feel inclined to be social, just because we’re all invited to the party. why i enjoyed substack so much to begin with, was its introversion, where you could write, deliver and retreat back to your dorm without the noise of the common room.

i don’t want to get sucked into the notes, focusing on followers, or following the right folks and the general chit chat on the feed. i would just like to write newsletters and publish and have continue to serve as the host. i have learnt that much like a school parents whatsapp group, you can choose to ignore, mute or participate in the social shenanigans or not.

9. substack has inadvertently become the basis for a book.

i began writing here thinking it would serve as a place to put all the things i wanted to say on instagram but never felt safe enough to say it, not knowing it would actually form the contents to a book. this materialised in a meditation about a year ago, that i would collate content from here and my journals to produce a second book. i have finished compiling the word content for this manuscript and about to embark on the illustrations. so i have cleared my work slate and other creative dee-stractions to enter an intensive drawing period for the next six months.

i am thinking it would be make sense for woo-tang to reflect this movement into visual language— with less emphasis on words and more pictorial content. i am also concurrently pitching to publishers and feel it could be fun to document the pitfalls, process, rejections and references along the way, so this newsletter moves away from pre-planned questions and past Q&A format and into a more present state of creativity and expression.

10. wherever you are on your substack journey as a writer or a reader, i applaud and appreciate the very precious commodity of time that you inhabit in this space to take in long form writing.

thank you.

love dee (aka woo-tang)

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ps. i have designed WOO-TANG stickers. if you are a paid subscriber & would like one— please message or email your address and i’ll send you one worldwide :)

pps. the film ten things i hate about you that served as the inspiration behind the title and illustration for this newsletter. you can listen to the 1999 film soundtrack here :)

10 THINGS I HATE ABOUT YOU

dearest rach & readers,

this week i tune into my higher self to channel some answers to this question arising from the unrest and impatience of being in the state of the great in-between. below are the notes downloaded post meditation on being in the lull between sets and potentially learning to enjoy it.

part I.

i am currently in my own state of limbo, where i have written a manuscript for a book but i have not submitted to a publisher— as yet. i am cushioned and crouching and hidden between what has been done and what will i do. i’ve taken this month of march to clear my plate and focus on my ‘pitch’ to submit to potential publishers. it’s something i have never done before as i self-published my first book love is.

this kind of action is anchored in the yang/masculine arena and it kinda feels like i’m about to ask five extremely clever and awesome peeps to be my friend, by presenting myself as ‘best’ as possible on paper— which is a strange process. so i am relishing the notes below and taking my own higher self’s advice on this, in these mid-moments before i step up to the plate and pitch.

part II.

learning to enjoy the state of limbo, of lingering and languidity is an art-form many humans are yet to perfect. being either here or there, without a care can be difficult stage to be in, as we like to begin or end, when it is truly the journey, the in-between, the sponge between the icing and the bottom of the cake, that we must master during our stay on earth. these mid-moments, these mid-air arrangements when time ‘slows’ before interia holds hold, are the most precious to be enjoyed and honoured, before the true action and activity transpires.

the mid-section, the mid-riff, the middling middle is ok and just as important as the beginning and the so-called end. the middle section is safe within the confines of what has been seen and done and the what will be, will be layers of the sponge and if you stay truly present mid-air, you will notice there is icing layered in-between and betwixt the beginning and the end. being exactly as you are and accepting this mid-flight or medium-ship is completely apart of the journey.

every astronaut or pilot or aerial gymnast knows this moment(ous) momento so well— as it is the moment that gives life and energy and air and flair to the next. it is when the chi is activated, yet about to come to fruition. however in the outset it looks like stillness or lacking momentum. the mid-journey is a crucial part of your soul purpose. it is the act II where you begin to wonder— what will happen, how will this pan out, am i going the right or left way? what am i doing? where is this leading?

enjoy these moments of middle kingdom, it will make a king and queen outta you.

love d xx

ps. previous related posts you may enjoy :)

the one on where creativtiy comes from or the one on the soul journey or the one on expansion and contraction or the one on being present here while listening to the future realm.

dear all,

this week i share a simple mantra on creativity, channeled in my notebook and transcribed for a recording with . it features on her podcast the world needs more creatives and a follow on from episode 16. conversations across realms, embodying grief and clearing karmic knots.

this is a simple 3 minute listen for anyone in a creative practice or seeking more creativity in their lives. i recommend slowing it down to 0.8-0.9 speed if you are using it for a meditative practice.

listen creative mantra

part I.

a mantra for creativity

take three deep breaths in and out of your energetic system. feel the breath rising from the pit of your core being, your thymus, up to your heart and filling your lungs then up to your throat before it is released again and again.

open your channel of creativity by pulling this breath higher up top your third eye, lighting up your indigo eye that sees all that is unseen and unheard by the five senses. pull the breath up higher again into the crown and you will feel it light up violet sparks around your whole being-ness.

there is a channel open now from your hands to your heart and up through your higher chakras to form an open source of communication to creativity. this is where all ideas and sparks reign. fill your channel with what vibrates at the same level of expression and what fills your heart with love and joy from pure expression.

creativity is merely the connection to source energy that comes through your body and into your hands and feet to synthesise or magnetise or form a physical output that is imbued with the energy of your human experience and connection to the higher planes.

our entire lives and lives beyond are pure creative expressions of your soul wanting and wonton for connection and delivery of source into material and physical form. it can be difficult to manifest the unseen and unheard and intangible into the tangible, however it is our ‘job’, our service here as humankind to aim for this great or grand or granular expression.

part II.

god/buddha/alla/vishu blesses you.

creativity is the source of all things great and small.

x d

ps. other podcasts i have been a guest that you may enjoy listening to :)

the one on grief & joy with and the one on grief and growth with natalie walton.

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dear oh dear,

i took a little break from writing on my manuscript and channelling notes the last two weeks. i finished my first draft of my second book and as a ‘treat’ to my lower self, my higher self and guides gave lenience to work on my other passion — which is basically, clothes or garments if we want to sound a bit fancy. part I i will give you the backstory of my clothes whoring tendencies and how i came to produce this range. in part II i share some photos of the collection on 35mm film i shot and styled.

you can read previous related posts to provide more clarity— the one on how to setup at flea markets or the one on buying sh** at markets or the one on finding cool old stuff.

part I.

writing is not always fun. it's gratifying and satisfying and hard-won yet also grueling and heart wrenching but not exactly fun. so as a by-product of this #notsofun i treat myself to scavenging treasures, sourcing vintage and designing on the sidelines. creating a range of up-cycled clothing from scavenged tablecloths is my idea of fun. it's also the practical embodiment of the stuff & non-sense i often espouse here.

i have been working with and around and moving clothes for most of my adult life. my first retail job at age seventeen was at MYER, one of the big department store chains in australia. from there i moved clothes around for various brands and retail chains — american apparel, sportsgirl, one teaspoon, house of mink pink and topshop.

my last full time job (ever) as a visual merchandiser at the ripe age of 31 was as a ‘creative’ for topshop. i was dressing over fifty mannequins at the flagship in sydney — a behemoth of a store with over five levels of fast-fashion and necessitating multiple warehouses to hold all the garments coming in and out weekly. racks of racks of the same items of clothing, in various shades and multiple sizes were shuffled in and out of the store daily. my job was to change the ‘mannies’ and displays daily, as the garments sold so quickly. this was the era of fast fashion.

this fast footprint weighed heavily on me. in the years to follow and as i moved into motherhood, i created my own homewares brand kawaiian lion. everything was made with limited runs and very small batches comparatively to the units sold by big brands. the most i ever produced was 100 pieces of one style. for the most part — there would be runs of 30 or 40 pieces. this is my attempt to not overrun the market with so many pieces, and to be thoughtful about what i was producing.

there was always a foreboding and hanging sense of guilt that always loomed— that i was producing new things. as a long time vintage lover and second hand shopper, i was designing new products inspired by old things and while they were cool or cute and lovely to have— i could not help but feel i was only adding to the weight of the earth. when i sold the label 6 years later, i vowed i would not produce clothes or homewares again— unless they were made from pre-existing items in the world.

while i didn’t miss the brand when i sold it— i did miss the process of design and production and abiding by the changing seasons. as a consolation to myself, i began designing clothes for myself from tablecloths and vintage fabrics and discarded linen bedsheets i would find at the local flea market. i found deep joy in rescuing these forgotten cloths and resuscitating new life into their already exquisite form. i wrangled my former dressmaker ‘uncle’ out of retirement to sew garments for me and to mend beautiful silk or treasured pieces i would find at op-shops and second hand sales.

i decided to produce more of these table-wear pieces, not just for myself. uncle simon helped cut and sew a small batch of a dozen which i tested and sold at special event markets the last couple years. also i furtively would sell them when people asked or popped over to my studio. late last year, i made a commitment to produce another small up-cycled range and release it on a grander scale.

the result is dear me the first drop that was released yesterday on my website kawa heart studio and oh dear the second drop which will be released next month in march. these terms of en-dear-ments are embroidered into the corner of the garments with the addition of heart-shaped buttons. dear me is an ode to all the grandmother's, popo’s and sweet nonna's of the world from simpler, slower times who would sit and embroider tablecloths for their loved ones.

so yes — yes, i am wearing a tablecloth.

part II.

view the collection :)

thank you for being here. this has been a great external release for me coming out from my anti-socials shell. now i shall retreat back into my book cave— until next time :)

love d-signer. xx

dearest guest

this week in part I i outline the review system on airbnb and deep dive into the 3-star review from an guest with a fine tooth comb. on part II i share unconventional design decisions made for our studio renovation inspired by a film scene. in part III some notes downloaded from my higher self on how to manage and move on from a bad review.

part I.

it took me while to write this one— like months, even a year to get over this and even now i get a little apprehensive after a guest has left, that we might garner anything less than a 5-star review. cos’ you see the way airbnb works is this— anything less than a 5-star is kinda not awesome, not great, bit average even.

i’ve been airbnb host for two years now and we gained superhost status in our first season with our studio listing. currently kawa heart studio has a 4.93☆ rating from 80 reviews and is a guest favourite— which translates in airbnb speak as being in the top 10% of eligible listings based on ratings, reviews and reliability.

while peanuts or pettifog to some, this is something i deeply care about— as it allows me to do the work i do here. i don’t get paid (much) to write here. currently i have 30 paid subscribers which is equivalent to around 2k per annum— or 50 bucks a week. the income i receive from airbnb affords me to spend three days a week creating these newsletters and write my second book.

the way this coveted superhost status works is this— you must retain a 4.8+ star rating in order to keep your badge of honour. any 3 or two 4 star reviews can quickly knock your ratings down and you can lose priority in the way the listings are shown in searches. so while it’s imperative to be a good host and human, i believe there is a unsaid mutual agreement to be a good guest and let the host know if there are any dramas— behind the scenes or discreetly in a private message. however this is not always the case.

this three star review from felt like a three star review of my heart. i digress. so kindly lend an open ear and allow me to share and plead my unconventional case to why where is no demarcation between the bathroom and the kitchen.

Share dear doris.

part II.

there’s a meet-cute again scene from the 80’s movie beaches that’s permanently etched in my mind. the barbara hershey character, the blue blood hillary is visiting her struggling artist friend c.c bloom, who she hasn’t seen since childhood— played by bette midler. it’s the late 70’s in new york city and c.c lives in a apartment, where the bathroom and kitchen and bedroom are pretty much in the same space.

in the following scenes, the arty mate is cooking with camaraderie while the formerly fancy one is showering and — they are chatting about their plans for the night— right next to each other. the friends are removed of their social status that no longer defines them, in a rhythm and ease in sharing space that only comes from living in extremely tight quarters while pursuing your dreams.

i wrote about these design decision motivated by relationships in the design files.

in the studio, where a nook was converted into a bathroom/kitchen inspired by a specific beaches film (1988). dee explains, ‘the fancy friend is visiting the struggling artist bette midler character in new york, and she lives in this tiny shoebox of an apartment where the bathroom and kitchen are in the same space. they are conversing while one is making tea in the kitchen and the other is having a shower.

i loved the intimacy of this scene, and it served as the main source of inspiration for the studio renovation. i felt that anyone who stayed in this space would have that kind of relationship.’

i was affected by the camaraderie, the comedy and the communication of this scene. thus, it served as the source of inspiration for our studio renovation— opting for intimacy over joy(less) division. we drew up a design for an oval ring that would hang the shower curtain that our plumber welded together and a linen curtain was sewn and hung outside of it, lending a thin veil of privacy and perimeter.

i was also told this week by a friend who has a german partner that this design arrangement was very common in east germany. when i learnt of this, i began a search of this and have come to the conclusion that if our studio kitchen/bathroom were to be a political party it would potentially be erring on socialist in nature and the sharing is caring vibes— and i am ja ok with that.

part III.

for folks who receive bad reviews & wanna learn from it & do other stuff good too

thank you for being here.

love d(oris) xx

ps. related posts on home you might dig. the one on how do i even begin creating a home. or the one on feng shui and how do to integrate it into the home. or the one on whites for interiors.

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dearest stuffed with stuff

this post follows on from last week with the one on how to find good stuff at the markets and can make sense with reading the one living with less. part I offers a higher perspective on the market space and its place on earth for humans. in part II i share market set up procedure and diagrams drawing out possible market stall formations for maximsing traffic flow and consumer activity.

part I.

for as long as humankind has existed there has also been a place for trade with product and food and crafts. it is the way of people, of humanity to congregate in a space that is a bazaar or a market that is always a colourful place for trade or shopping to take place. the market energy depends on the quality and quantity of sellers with the right proportion of buyers which differs day to day, week by week and season to season.

the best time to sell a market depends on what one is selling and aesthetic wants of the market goes. the market seller will always provide if the buyer remains open to what is on offer. energetically an item will find you and you will find it. you might have an inkling before you arrive or it could be supposedly serendipitous and the surprise factor is high, which allows for maximum joy in reciprocal exchange of sourcing and selecting at the bazaar.

regular and seasoned flea friends understand the innate nature of el mercado— that an item is temporary, that we are merely custodians and custom-ers, only for a momentary time. we are less owners or have owner-ship, we are guardians of our second-hand ships. do not lament a bad or unsuitable buy, as it can either be given to its rightful new custodian or it can be recycled back to the thrifting world, to find its new patron. the joy in this is knowing that you did not partake in new production or burning of fuels in order to attain your treasured item.

trust this process as seller and you will enjoy letting it go to its rightful custodian and being handed back the amount it is worth — at flea market value.

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part II.

some years back i learnt this expression from a sparky mate — piss-weak preparation means piss-poor performance. let’s use this old tradie adage to how we could approach selling at the market. most of the work can and is best done before you arrive at the markets. this is a general rundown of how i would prepare before considering packing the car.

tools of the trade

• running rail or clothing rack

• trestle table

• market rug

• camping chair

• masking tape or sticker dots or tags

• a good attitude and ready for action

mental prep.

you’ve been saying for years or months — it’s time to clean out the spare room or storage unit or wardrobe. rather than a i cant be bothered attitude, open yourself up to possibility of joy and clarity it can bring with letting go of items that no longer serve you while earning some return. perhaps wrangle a friend or family member to go through this right of market passage with you. it makes it more fun and enjoyable to endure embrace the morning as a team.

physical prep.

place all the unwanted belongings together so you can access the situation and separate into three main areas — clothing/apparel, toys/objects and homewares/linen. if you have spare rack — the collapsible ones are the best — hang all of the apparel pieces up where possible. fold and stack everything else into piles. wrap glassware and breakables in newspaper or towels.

if you want to go a step further — sort and place the items depending on what category they are — shirts, outerwear, pants, tees, dresses or by colour if you prefer. choose an aesthetic or categorisation that makes sense to you. then bundle handfuls of hangers together, tie with string or rubber band to keep them together. you can go a step further by covering with a garbage or cloth bag for protection. make sure shoes are paired together — place in a big ikea or equivalent.

pricing

pricing can be done before arrival if you want to be ready to roll or after setup when their a lull periods. or not pricing — other times it feels more open to allow market goers to ask. some folks love ticketed priced items so they don’t have to ask and they will literally grab the item and thrust money in your hand. other times, its nice to build up a conversation with folks asking you for price and sparking conversation and possible connection.

music

i would suggest playing music that is low stim for the morning and picks up to mid-tempo for daytime. i like to play classical or non verbal tunes in the wee hours of the morning before sunrise and then ‘amp’ it up to low key seventies. here is a love is 70s mixtape i prepared earlier. go on, give it a play and watch the golden oldies wander over as in a groovy trance. as the day unfolds its fun to bust out 80s or 90s so every generation can hum along.

one time a dude selling tie dye tees started belting out f** the police at like six in the morning. a regular stall holder marched over and told him to shut the f**k up. he turned it off immediately. so where possible, be conscious that it is a public space with all walks of life and to play tunes that veer away from heavy beats (and cussing).

loading & unloading.

where possible — get there early as f**k.

Read more

dearest late riser

the past year or so i have attempted to write about styling on many occasions however the higher self doris had other ideas, preferring to deep dive into the interiors of the heart and spiritual space. for those who have patiently stuck around, you will be relieved to know that this week and for the remainder of the dragon year, we are swinging back into our earth-bound surroundings and offering practical and cute casa council.

in part I i share my lens as a seasoned scavenger — a stylists guide to the flea and a rundown of how the market unfolds from the wee hours in the morning. in part II i share an essentials list of #crazymarketlady to prepare and to be aware of before you even go into pre-loved battle.

part I.

i am about to share with you the top secret of finding good sh** at the markets.

the secret is that there is no real secret — you just have to do is get up early.

i get asked this question all the time and my response is — i get there around five — in the morning. yes, voluntarily on a sunday. most generally baulk at the suggestion and make flat tire sounds. which is fine — more loot for folks who arise for the occasion. hence this post is dedicated to any human who desperately wants to step up their second-hand-game, who seeks to level up their vintage vampiric ways and to become a seasoned scavenger.

if you wanna level up your market game, you have to beat the early birds — literally. you have to arrive before sparrows fart, as we say down under. that’s right, you have to be there before the bloody birds arise. if you can hear birds chirping when you finally wake up on a sunday, know that those 90s bleached 501 levi’s and billabong reversible jacket have already sailed into a depop dudes blue ikea bag.

by the time you’ve woke your woke ass up, most of what vintage resellers and depoppers and fashion hungry deem as good haul has been u-hauled way before before sunrise. you will never see so much (mostly) sober shopping activity and cash deals being done in the pitch black of the night. i once sold a box of barbie dolls to a dad at 3.33am in the morning. this is perfectly normal market activity.

the first wave are already there and have been here since 4am or earlier. they have already filled up trailers and totes with loot and are armed with fistful of dollars and ready to pounce on unsuspecting stallholders. they carry torches, they wear headlights and they use their iPhone lights and magnifying lens to inspect items. this is not for the faint hearted. do not be alarmed if they attempt to help you unpack. you can politely decline. more on this next week with the stylist guide to selling and letting sh** go at the market.

the second wave. i am what i would prefer to call second wave scavenger at the market. i arrive around five in the morning when roughly half the stalls will be set up, with cars still driving in to nab the last spots. the second and first wave are here to source, scavenge and score. we know what they like, we know what we want and we will buy. the earlier the picking, the faster the deal is sealed.

the third wave arrive around 6am or sunrise. this is actually an ideal time to arrive for the less voracious as its still early enough to score but late enough that you can see everything in beautiful rising sunlight. it is really important to see things in the best possible light available to you at the time given, to see the colours, textures and also the quality of the item. when you’re mostly scavenging in the dark, you can get home to find that the shade is what you thought it was or there is mending to be done.

tom, dick and harry arrive from 7am onwards. these are your casual market folks who shop in full sunlight. this is when it evolves from being an individual market pursuit to a team flea effort. these market goers walk around in groups ambling along and generally need the consultation of the other members in the group before they can seal the pre-loved deal.

the general wave of folks arriving now are less hungry, less frenzied and had more sleep so they make more informed choices and can tend to be scrupulous and ask for a bargain. from 8am onwards, families rock up with a treasure-seeking kids, plus teams of teens race in off their bikes and twenty-somethings stumble out of uber’s from a big night out.

the final wave is just before the market closes — a good time to arrive for the final hurrah if you are really looking to score a bargain. if you arrive in the last half hour, the casual stallholders are tired, totes over it and very willing to let go of their stuff at a reduced rate — or will give stuff away. there will be boxes with free stuff you can pick leftovers from. this is also the time you could attempt a low ball offer and have it accepted. casual stallholders want to take as little home as possible.

part II.

before you even step your wannabe-second-hand-foot at the flea — it’s best to pack your essentials and save any morsel of time in the morning — because minutes passing means missing good haul.

markets essentials list.

• cash is king. for the local flea market — you need cash. there are loads of oldies here selling their wares and they want cold hard cash to remind them of the golden days.

• backpack / basket / tote bag to carry your haul. i prefer a backpack basket so you have two free hands to rummage and rumble.

• torch or flashlight / phone fully charged with light / head torch

not essential but worth considering

• bring your kid. train them young. if requested i can do another newsletter about introducing kids to buying and selling at the market.

this is what i prepare the night before the market. you can create your own version of this regiment.

• alarm is set for 4.43am

• outfit picked and placed in the laundry to minimise noise

• backpack/basket at the door with cash, hat, sunglasses inside.

• e-bike charged and ready to roll

• remind the kids that its market day and i won’t be there when they awake

• if they want to go ‘second round’ they have to be up by 7am

second rounds is literally that — you go a second round around the market. often i see regular thrifters dropping their haul in their car and going another round. i prefer to go home, make chai, admire my goodies and wait for my kiddies to wake up — then we go again. since i’ve had my market cup filled and no longer flea frothin’, i can be chill mama and follow their lead. usually we break up into teams, as its easier to wander in a pair than a quadruple.

lastly, you can source stuff in a variety of ways —

• by actual things you are looking for with an inventory in your mind or notes

• by serendipity and an open mind

• by textures / fabrications — we can go into this in more detail in another post

• by budget or brands

let me know if theres anything else we could get into with the minutiae of the market. next week we will continue this topic with the stylist guide to selling and letting sh** go at the market. comments are open to all subscribers.

love d #crazymarketlady xx

previous related posts you might dig.

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dear readers,

this week in part I i share the podcast i am a guest on the world needs creatives episode 16 with . in part II i offer a preview to a mantra for creativity channeled from my higher as an accompaniment to this episode. it will be released later in the season as a recording on the podcast.

part I.

yes. hell and heavenly yes. the world needs more creatives — or the world needs to know we are all creative and we can all tune into our creative being-ness. 

listen to the podcast here. enjoy.

part II

a mantra for creativity

Read more

dear em,

in part I this week i have drawn the stack of books in my to-be-read pile and in part II i cover coffee table books and in part III a list of substack’s i enjoy and read regularly here.

part I.

after a much extended break from books, i am back into reading. over the last decade while having three babies, reading became a kind of luxury that i felt like i could not afford. so i have taken to leaving books in nooks around the house where they are most likely to be seen and picked up. my husband also gifted us all a very dad-gift recently — a clip on night light. i may have scoffed in his face when he began using one but now we all clip on our little rechargeable light to books before bed.

i have a stack on next to the bed waiting patiently to be picked up. this is the stack. i generally like to stack books in a colour blend. however size and weight can determine its placement within the stack. more on styling shelfie’s soon.

part II.

i use the term coffee table books loosely, as we have stacks also placed on top of the piano and on the kitchen table where you might get a little moment to open one up. place coffee table books by size and shade. the heaviest book always sits as the base and the colour of the book which suits the mood and tone of the room gets to be top dog. new coastal by is the current coffee table topper.

other coffee table books currently stacked.

surf shacks by indoek

a life in pictures linda maccartney

the beatles complete part two

streeton by wayne tunnicliffe

brett whiteley by bay books

part III.

below are substacks i enjoy and read regularly. i usually read a bunch in one hit on the weekend and re-stack what hits the heart.

spiritual / by

life / by

gratitude / by

meditation / by

art / by

fashion /

design /

music / by

movies / by

books / by (who inspires me to read more and advises to take a book everywhere and to read anywhere)

♡

big bookworm love

d xx

ps. feel free to share in comments with us all what you are currently reading :)

shout me a cuppa :)

dearest humans,

kindly note there are no references to god or buddha this week nor shall i be busting out into woo-woo-tang consciousness capers in this issue.

i am currently working on a manuscript for my second book which is about home and living gently on earth. it includes pieces pulled from dear doris here and new writing. half is channelled from source and the higher self while the other half is practical information and hands-on written from my lens as a working stylist and designer. as i move into the latter, you will see the q&a here move into more interior space/home and styling space terrain.

i felt called to compile this manuscript (the fancy word for draft) a few months ago however i have been struggling to muster enough time to spend on it at a rate i would like it to see it developing. so i am attempting to create a covid-like scenario for the rest of the year, where i can be super anti-social without repercussions or guilt —where i can burrow away in my little shack and emerge next year a dishevelled jubilant mess shrieking gibberish waving a completed scrappy manuscript in hand.

i also considered pausing dear doris or stopping it completely yet i was told upstairs to press on as its important for the expression of the unexpressed — to press on notes unplayed, to tinkle with the tampered and tainted. that i must carry on, to carry the load (thanks guys) so i have decided to lighten the load here to three newsletters a month with a week break.

i’ve also been designing two new websites on square space to separate myself as my own entity away from kawa heart studio. i just went live with deekawai.com and you can check it out here. with this website i decided to create all the visual content and set a challenge of drawing everything on procreate — except for the about portrait that was taken on film by my four year old.

you will be able to book in for a creative chat under book a meeting and my book love is. available for purchase. there are just 120+ books left from the first print run of 1500. so i am offering 30% off with this new website launch. use code: DORIS

thank you for being here. bless your cotton (or wool) socks :)

big love dee xx

ps. comments are open this week.

any questions are welcome and taken aboard the woo-woo-tang train.

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dearest dads of the world,

i had another newsletter scheduled in for this week but this one just nudged its way through and into existence. perhaps, cos’ it’s my 11th wedding anniversary today — which has caused me to pause and reflect on what it’s been like being married to an artist and having a creative partnership and family together.

in part I i tune into my higher self doris to download what marriage means from a higher perspective. in part II i share 11 things i have learnt in 11 years shacked up with an artist.

part I.

the union of two souls in matrimony is very much like mixing two elements together, or two oils — a base note, with a high note or two bases or two high notes. the alchemy of combining the two can and does create a new energy or note or tone in itself. while the oils or pure fragrance can be intoxicating on its own, the mixing of the two can take on a double-edged sword effect. it can be twice as sharp or twice as sweet — depending on the make-up of the two parties.

a union can create a powerful elixir which is easy on the nose or one that keeps you on your toes— nobody knows until the alchemy begins and creates an odour or scent of its own. marriage is a funny caper that humans do love to indulge in for many reasons of sanctity or sanctimonious matrimonial ways.

however, just as much — humans love to break up or sever ties with one another, causing rifts to break — to divide and conquer the animal mating kingdom once more. there is no right or wrong doing in nuptials or non-ceremonial commitments, however a party sure is fun when the joy and laughter and exhilaration outweighs the stress and anxiety of organising such an event.

do as you do, say i do or i don’t, it’s always up to you.

part II

the biggest lesson in a creative partnership is accepting that money will flow in and out with no real constant to it.

learning to adapt and to lean and taking turns to be the breadwinner is a reality.

when funds and work flow are low being frugal can force you to be more resourceful and you find a more hands-on approach to renovating and creating a cute home together.

living amongst the chaos and half finished projects can drive folks mad but there is also an art to accepting things exactly how they are in their imperfect state.

don’t move their sh**.

every pile has a purpose.

don’t mess with their palette.

give them their own space to create.

paint stained pants are de rigueur.

grubby hands are working hands.

always wet the bristles first.

respect their visions.

encourage them.

feed them.

love them forever.

love an artists wife, d xx

*povo in aussie speak is short for poverty.

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dear new coasters & old toasters

last month we headed over east as sandgropers say — as if the entire east coast of australia is actually just one big state — like it is over here. we landed in sydney to celebrate the book launch of new coastal by fellow creative . in part I i share the story of meeting ingrid and interior shots in the the book, followed by part II where i asked the author a handful of questions about her new coastal journey.

part I.

a couple years ago asked if she could photograph our home for her second book — capturing homes that imbued a sense of new coastal. she was mapping out a journey that would take her from over east to the wild west coast of australia then up to the pacific coast of california before sojourning the east coast of the states.

ingrid arrived on a overcast winters day with a basket in tow, wearing a white blouse over dark capris, a black beret, a red check wool shawl and cowboy boots — refined theatrical i would call it. with no crew or apparent equipment in sight, she gracefully made her way around the property to capture our house and studio armed simply with a hand held camera and a designers lens.

afterwards she pulled out an old school recording device and proceeded to interview myself and at our kitchen table over a cup of tea.

‘approach it like you’re in a new city’ was a friend’s advice to dee when she moved back to her hometown of perth. because you are a new being. with new values and beliefs, things you’re interested in. be present with that, and in that state you will connect with different people’.

i said apparently — and totally forgotten. so when i opened up new coastal two years later, it felt like i was reading my own advice for the first time. it was upon returning over east to the big smoke of sydney — the city that bestowed me a husband, two children, a business and immersion into a surf coastal community — that i would heed my own advice now imprinted forever in the book — to approach old sydney town like a new city, as a new being.

while grief lived with me daily and infused every action and intersection, i was no longer the heart-stricken mother and designer who left sydney seven years ago. so i reached out to friends where connection had not waned with distance and time — the handful who leaned into my strange habit of dead(ly) people conversation. old mates who met my new beingness with their present state of being and we evolved from old friends anchored by our past into refreshed friends.

to sum up new coastal in a word, it would be that — refreshing. it is refreshing to read a coffee table style book that while outwardly focuses on interiors, touches on the lightness and darkness, the spiritual and the physical make-up of homes and their inhabitants. it’s also refreshing for a book of this ilk to have the words written and photographs taken from the one lens. it creates a fully immersive storytelling experience — similar to a screenwriter who directs their own film, the signature is strong and present.

there could be a whole travel book about visiting seaside towns in the off season. you lose and you win. its the moon to the sun. no balmy days but bracing cold water swims. long walks on a windswept beach.

part II.

dee: ps. could i ask you a few questions about the book? 

ingrid: i like your questions.

dee: where did the idea for new coastal stem from? 

ingrid: coming out of covid — i was interested in freshness, freedom, expanse.  the sea gives that to you. and people living by the sea, creating worlds by the sea — i wanted to see how they captured that feeling in their interiors.

dee: was there a house or place that unexpectedly resonated with you? or a location that felt like ‘home'?

ingrid: maine. i found it enchanting.  it was actually the opposite of home. but probably that is what made it special.

dee: reflecting back on the journey to create the book  — what have you learnt about humans/and their homes? 

ingrid: something i was touched by was how warmly i was welcomed into the homes of strangers. there is a lovely greek word philoxenia. it means hospitality and welcome and is a very ancient custom. spaces really are about the people who inhabit them and a generous spirit animates a house, makes it a home.

dee: biggest takeaway or words of wisdom or a quote from an homeowner. 

ingrid: in new coastal the photos captions are tips from the home owners. in their own words. so many interesting pieces of advice. one something that comes to mind is lukas haas saying ‘anything i can hang, i'll hang.  pendants, bells. it creates an atmosphere and a magic’.

big coastal love.

d xx

ps. for interior enthusiasts — fellow substacker and her laguna home feature in the book. also fellow west australian spaces esperance chalets and karri loam.

SFGirlByBay

unexpected guests: kawa heart studio.

i don’t actually recall how i was introduced online to dee kawai tang of kawa heart studio, but i knew instantly she was a kindred spirit. an artist with a deep soul, an inspiring sense of style, and a beautiful way of looking at the world, dee is a true renaissance woman — a stylist, a writer, and an artistic powerhouse — i’d actually call her a poet of life. she lives in a remote part of australia with her family in a 1940s bungalow they call ‘the lady of california’, and one can definitely pick up on their sunshine state of mind and free-feeling beach vibes…

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dearest scavengers & readers,

after leaning heavily into the spiritual realm last year, i am shuffling back to the picket fence to keep a foot in both realms in my sophomore year. #justforfun this week we are sneaking into my friends bridal atelier to see how inspiration can be drawn from a serendipitous mix of old, new, something borrowed and blue green.

part I.

atelier /əˈtɛlɪeɪ/ : late 17th century: from old french astelle ‘splinter of wood’. a workshop or studio, especially one used by an artist or designer.

harriette gordon is an australian based bridal designer who lives down south — west oz lingo for the majestic coastline that is the south-west cape of australia.harri’s studio is a converted old shed that used to be a man-den and gym formerly owned by a local legend surfer in yallingup.

i snuck in there a few weeks ago as the sun was setting to take in the magic and mayhem that is an artisans atelier. there’s a sense of calm and chaos within this working designer’s space and a serendipitous mix of old, new, something borrowed and blue green. kindly enjoy the tour.

part II.

something old.

old antique tables make up the designers and sewing corner of the studio. unmatching yet fitting for the otherwise neutral space. a mid-century tulip chair adds a classic vintage touch and always a ‘yes’ to moodboards with scotch and masking tape placed directly on the wall. an antique dark timber piano sits quietly in the corner adding simple elegance and romance to the space.

something new.

ikea work tables are joined together to make a super wide working space to roll out and cut bolts of satin, silk and tulle. new tubs in neutrals and white blend into the working space interspersed with rolls of fabric and fabric remnants. there is a delightful sense of chaos and calm in this working area.

new paint samples are tested on the wall and a cut out of a bride’s silk glove is taped with it becoming apart of the in-deliberate design of the space. bets on that quarter hog’s breath is the winner.

something borrowed.

harri says the floral chair was picked up from the side of the road in nedlands. i think that can pass for being “borrowed” for a inordinate amount of time. we call it ‘verge collection’ or ‘council clean-up’ in this part of the world and its a great way to pilfer or scavenge unwanted trash or treasure in the local neighbourhood.

something blue green

the velvet green lounges belonged to the designer’s grandmother. she was a fancy old world lady who kept these velvet relics in a formal lounge to be seated on when friends came over to wine and dine. the pop of blue green is unexpected fun taps right into the heart chakra emanating emerald vibrations.

micks nook.

paper patterns on pattern hooks. a slight dent in the rack. garment bags bursting with what could only be unbridled beauty. the last love song sitting pretty next to a swirl of silk scraps. mick jagger sets the tone — casually hanging in the corner on a chaise, an unfazed manner and languid layering of objects add to the magic and charm of this space. remnants of the designer inspiration and creative process are littered everywhere amongst the calm creations and gentle chaos.

thank you harri for letting us in.

love d xx

previous issues you may enjoy :)

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dearest readers,

in the year of writing here, i am often asked what this platform is and why i moved over and semi-retired from Instagram. so i wanted to tune into this platform with the higher self to download a higher perspective on what the bloody hell is it anyways and how to explain it to folks downstairs with the clarity from upstairs. kindly note god and angels can be substituted for any venerable or vernacular you prefer and heaven for a spiritual plane that aligns with you.

part I.

welcome to this channel of free thinkers guarded by archangel gabriel — the divine messenger of light and true expression.

is a community of core beings spreading light to the greater mass, as writing is the key to human survival. without writing all knowledge would be lost for civilizations. the key to substack is channel and communication. they create the channel so that higher consciousness can be streamed to others.

or sub(stancial)stack or sub(stance)stack is a virtual space or room filled with writers and folks who express themselves, their souls, their passions and porpoises through the medium of writing words and drawing pictures. substack is overseen (upstairs) by the archangels michael and gabriel. they are the guardians of open source (literally). they are the protectors of communication and callous behaviour from outsides forces — be it extraterrestrial influence or noise or dark energy that can invade a channel.

is simply that — a channel from source. the intention begun purely as a platform for free-thinkers to write without blinkers or winkers. it was created as a safe space for expression. while the core of this is still there, of course the platform is still a business evolving into its childhood and adolescence away from its pure intended infancy. now it is growing and expanding only in a way that it can within the context of the matrix, bound to commerce and commercialisation. despite this, at its heart there is more lightness in its auric field than darkness or corruption.

the consciousness of the platform is evolving as it attracts folks of a similar ilk of wanting news and content that suits them, rather than being spoon-fed disasters and calamities that reinforce the world is a big, bad place getting worse by the day. while this can be true from a certain lens, there is also much hope, love, faith and good old fashioned heart in which of the world and within the world of substack, you can find these gemstones, these words of conviction and care and you can find like-minded and hearted souls who write or express because they desperately need to.

the need for expression is imperative to a human souls growth. the explosion of words and paragraphs are merely the output of energy and inertia that enters through the body from source and washed through your experience in the physical realm, before spitting it out into parables and paragraphs that are laden into a newsletter — to be once again digested and run through the soul in which sees and absorbs the creation or the spit of the soul. pardon the use of this analogy — however from a writers point of view, spitting out words is often how it feels to write, as the words are almost thrown or usurped from your inners in a manner which is often uncontrollable or intolerable to what others may deem of it.

when a writer enters this stream and dream of writing and the words pour from within, it is unmatched to anything that can be reproduced. the stream of soul conscious writing is a practice in which happens when we write for ourselves, rather than for an audience. the audience or readership is a by-product of the expression who come or are attracted by the energetic quality of the output. there is no real sense in attempting to gain followers or readership, as the material itself will form a bond (or not) with those who encounter upon it.

substack is looked after by gabriel as he is the archangel of communication and creative expression. if you wish for his/their guidance you may ask gently and quietly in your own time.

love d xx

ps. for all the design-friendly folks i have been alienating (sorry not sorry) — next week i am leaning back into dee-sign and interiors. thank you for your patience and staying onboard the woo-tang-train while i strayed and stretched my wings into the esoteric. in my second year here, i will be moving towards balance and alternating between the constructs of our spiritual home and styling within our physical homes.

previous related issues you may enjoy :)