by Meetali Sharma
This is part of Between The Lines, an interview series with writers in Singapore about the craft and creative process of writing.
What happens when a creative heart collides with the limitless possibilities of technology? Fueled by art and innovation, it becomes ready to explore the fascinating intersection where creativity meets technology.
We had the pleasure of meeting Judith Huang. A multimedia creator, artist, author, editor, translator, singer-songwriter, educator, and technologist, this poet at heart is redefining the boundaries of creativity and pushing the limits of what's possible.
Find more about Judith’s work at:
Judith currently lives in Perth, Australia. She and her partner have started a new poetry and music open night, with the goal of creating a more inclusive and diverse community. They are committed to center different voices and provide a platform for young and emerging writers to share their work.
There’s always a journey from that initial glimmer of inspiration to the final polished piece. Can you walk us through the evolution of your voice as a writer? How did it begin, and how did it shape-shift along the way, especially as you ventured into poetry?
Judith Huang: As I reflect on my writing journey, I am reminded of the power of early encouragement and the importance of community in shaping my voice. My love affair with writing began in primary school, where my English teacher, Miss Marion Winnings, introduced me to the world of poetry. She sparked a passion that would stay with me throughout my life, and I am forever grateful for her guidance and support.
My early days as a poet were marked by experimentation and exploration. I devoured Haiku and short stories, and my teacher's encouragement gave me the confidence to keep writing. As I entered secondary school, I became part of a vibrant writing community that nurtured my growth as a writer. I was fortunate to be part of the Singapore writing scene, where I met fellow writers who shared my passion and helped me hone my craft.
One of the most significant milestones in my writing journey was being published in an underground internet magazine called The Second Rule. Founded by Koh Beng Liang, this platform gave me the opportunity to share my work alongside established writers, and I felt like I was part of a larger literary movement. I was also publishing in other anthologies and magazines, including QLRS, which further solidified my reputation as a poet.
In 2001, I won my first Young Poet of the Year award from the British Poetry Society, which gave me the confidence to pursue writing as a career. I went on to win the award two more times, in 2003 and 2004, and this recognition helped establish me as a poet.
However, I soon realized that making a living as a writer would require more than just poetry. I decided to work on my novel, which would become “Sofia and the Utopia Machine”. This project took six years to complete, but it allowed me to explore themes and ideas that I couldn't express through poetry alone.
Throughout my journey, community has played a vital role in my growth as a writer. From the Singapore writing community to the underground literary scene in Spittoon which is a Beijing-based art collective. I have been fortunate to find like-minded individuals who share my passion for writing. These communities have provided me with a sense of belonging, support, and inspiration, and I am grateful for the opportunities they have given me.
When crafting characters like the nostalgic grandmother, the granddaughter, and the tech-savvy Ren in Dark Chocolate, what was the process behind choosing these particular figures? How did you envision them intertwining to evoke both a sense of history and the pulse of modern life? How do you balance such distinct personalities to create a cohesive, layered story?
Judith Huang: When I set out to write Dark Chocolate, I was driven by a desire to explore the complexities of human relationships, memory, and the impact of emerging technologies on our lives.
The idea for Dark Chocolate was sparked by a documentary about holograms with AI, which aimed to record the memories of individuals, such as Holocaust survivors, for preservation in museums. This concept resonated with me, particularly in the context of my own grandmother's experience with dementia. I wanted to explore the implications of this technology on personal relationships and the human experience.
The protagonist, a young woman, was inspired by my own experiences of being single for a long time and the excitement of meeting someone new. I wanted to capture the thrill of a budding relationship and what comes with it. As I wrote, I drew from my grandmother's experience with dementia, which had a deep impact on our family. I wondered what it would be like to preserve her memories, even if it meant creating a composite hologram that wasn't entirely authentic.
The character of Ren, the tech-savvy love interest, was inspired by a Vietnamese American expat I knew in Singapore. I was fascinated by the idea of a Singaporean who had never left the country dating someone with a vastly different cultural background. I wanted to explore the nuances of their relationship and the ways in which their differences would intersect.
The nostalgic grandmother was a crucial character in the story. I drew from my own aunt's experiences during World War II, including a story about British soldiers distributing dark chocolate to children. I was struck by the fact that my aunt's memories of this event had slight variations each time she recounted them. This got me thinking about the nature of memory and how it can be distorted or manipulated.
I wanted to incorporate this theme into the story, using the AI technology as a catalyst. What if the AI were to merge different memories, creating a new narrative that was both true and false?
Throughout the process, I wanted to balance the distinct personalities of my characters. I wanted to create a story that would evoke a sense of history and the pulse of modern life. I drew from my own experiences, also with little encounters with film-making in college which has aided the story.
I think your stories have a poetic quality that’s subtle yet powerful, and the dialogue adds a layer of intensity that keeps readers engaged. Would you say this balance is something you've consciously refined over time, or is it more of an instinctive approach? And do you believe technical mastery enhances the natural flow, or do you let intuition lead the way?
Judith Huang: As a writer, I've always been drawn to the magic of dialogue. For me, it's a way to bring characters to life, to capture the essence of human relationships, and to drive the plot forward. I can say that, it is primarily due to my background in writing plays. I wrote plays in school, later on I also wrote plays for Singapore Writers Festival (SWF) when I was in Raffles' Girls School (RGS).
I believe that dialogue is essential in fiction, as it allows readers to experience the story in a more immersive way. When done well, dialogue can be like a dance between characters, with each line building on the previous one to create a sense of tension, intimacy, or conflict. I've been told that my dialogue sounds very real, and I think that's because I've always tried to listen to the way people speak, to capture the rhythms and cadences of everyday conversation.
Of course, dialogue can't stand alone – it needs to be balanced with description and other narrative elements to create a rich and immersive story. I've learned this through feedback from readers and editors, who have encouraged me to add more description and context to my writing. But I still believe that dialogue is a powerful tool, one that can drive the action forward and reveal the characters' personalities, motivations, and relationships.
I try to tap into my own experiences and emotions, to draw on the world around me, and to let my characters speak in their own unique voices. At the same time, I'm always aware of the need to balance dialogue with other elements, to create a narrative that flows smoothly and engages the reader.
I think that's one of the things that makes writing so magical – it's a constant interplay between instinct and craft, between the subconscious and the conscious mind.
In the case of my other short story, “Second Best Friends," it is also inspired by real events while I was studying in Singapore Chinese Girls' School (SCGS) primary school.
When you set out to tell a story, how do you nurture that initial spark into a fully realized narrative, and what parts of the process do you find most transformative for both you and your readers? What advice would you give to young writers who are starting out?
Judith Huang: When I set out to tell a story, I often start with an idea that I want to explore. This idea might be a concept, a theme, or a character that I'm interested in developing. For example, in my short story "Dark Chocolate," I wanted to write about the intersection of technology and relationships. I had a few key elements in mind, including a science fiction technology that would allow someone to have a hologram of their loved one in their home, a relationship that was forming after a long period of time, and the theme of dementia.
As I began writing, I didn't have a clear idea of where the story would go, but I knew that I wanted to bring these elements together in a way that would create a compelling narrative. I started by writing scenes and developing the characters, and then I began to structure the story around these elements.
One of the most important things I've learned about writing is the importance of actually writing the story. Many people get stuck at the idea stage, talking about their ideas but never actually putting them into practice. I believe that writing is a process of discovery, and that the act of writing itself is what helps to develop the idea and bring it to life.
Once I've written the first draft, I put the story aside for a while. This allows me to approach it with fresh eyes and a more objective perspective. I find that this is a crucial step in the editing process, as it allows me to see the story in a new light and make changes that I might not have noticed otherwise.
I also believe in the importance of editing and revising. I've submitted "Dark Chocolate" to several outlets, and each time I've had to make changes to meet the word count limits. This process has actually helped me to refine the story and make it stronger
Of course, not every idea will result in a fully realized narrative. Sometimes, the ideas just aren't strong enough, or the inspiration isn't there. But I believe that the process of writing and editing is just as important as the end result. It's a process of learning and growth, and it helps me to develop my skills as a writer.
In terms of patience, I think it’s just part of the process. When I first write a story, I'm often very excited about it, and I want to keep working on it and revising it. But as time goes on, I may start to feel tired of it, or I may get discouraged by rejections. That's when I know it’s time to put it aside and come back to it late.
I also believe in the importance of having a trusted reader or editor who can provide feedback and guidance. This can be incredibly helpful in the editing process, as it allows me to see the story from a different perspective and make changes that I might not have noticed otherwise.
Having studied in the U.S., do you think that your writing carries a bit of that 'New Yorker' style—crafted with an eye for detail and a certain narrative flow that draws the readers in? How do you feel about the style of novels that are known for their page-turning qualities, particularly those with sharp, contemporary insights? Do you see this approach influencing your own work?
Judith Huang: As a writer, I've always been drawn to the idea of crafting stories that are both engaging and thought-provoking. While I've been influenced by various literary traditions, including the New Yorker style, I don't necessarily feel that my writing fits neatly into one particular category.
I did subscribe to the New Yorker for a period, and I admire the way their short stories are crafted with an eye for detail and a narrative flow that draws the reader in. However, I don't think my own writing style is necessarily similar. I've been told that my stories are engaging and can be finished in one sitting.
My earlier influences were actually more focused on literary fiction, particularly the works of Alfian Sa'at and Wena Poon, who are both Singaporean writers. I was blown away by their short stories, and I wanted to be able to write like that too. I also started reading science fiction, which has had a huge impact on my writing, particularly in terms of exploring philosophical ideas.
I've been influenced by science fiction writers like Ken Liu and Ted Chiang, who are writing amazing short stories that are both literary and thought-provoking. I love the way they explore the implications of technology on human society, and I've tried to do something similar in my own writing.
However, I must admit that writing short stories is actually the hardest genre for me to write. I find it easier to write poetry or novels, but short stories require a level of concision and focus that I'm still working on. I admire writers who can condense an idea and characters into a few thousand words, and I'm still trying to develop that skill.
I'm influenced by the realist tradition of Singaporean writing, but I'm also drawn to the speculative elements of science fiction. I'm still experimenting with different styles and forms, and I'm not sure if I'll ever settle on one particular approach. But I'm excited to see where my writing takes me, and I'm always looking for new ways to challenge myself and push the boundaries of my craft.
We can’t help but wonder, what’s next for you?
Judith Huang: I just notched a successful anthology under my belt (Perks of Being Dumped). Now, I have a picture book in the works, which delves into the complex topic of depression, aiming to connect with readers of all ages.But beyond that, I still feel a deep passion for promoting Singaporean literature—so the possibilities feel endless
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