About Vennie

I write to live.

I am an author, poet, artist, and lifelong writer whose work lives at the intersection of memory, survival, consciousness, creativity, and truth.

I began writing because it was the one place where I could let out my emotions in a tangible way. Before I understood publishing, branding, or what a career as a writer might look like, I was already keeping records of my inner life through journals, poems, essays, fragments, drawings, and stories. Writing helped me remain connected to myself when the world around me was confusing, frightening and deeply overwhelming.

I am a survivor of childhood in Sam Fife’s Move of God cult. That experience shaped much of what I examine: coercion, religious abuse, memory, manipulation, dissociation, power, silence, and the long process of learning to trust my own perception. My work does not come from a desire to make trauma beautiful. It comes from the need to tell the truth about what happens to people in coercive environments, and what it takes to become whole on the other side of it.

My memoir, Cult Child, examines the childhood, belief system, and abuse that shaped my early life. Keeper of Backwards Men is a collection of poetry and prose about memory, identity, desire, grief, and the strange architecture of becoming. Dusted Shelves returns to the emotional residue of a cult childhood through memoir poetry and reflection. Becoming Gratitude is a journal for the complicated practice of finding something to hold onto while life is still being rebuilt.

I am also the author of Anatomy of the Dark Empath, an exploration of perception, empathy, boundaries, shadow, manipulation, and the moment a deeply sensitive person stops confusing understanding someone with owing them access. The work is rooted in lived experience, observation, personal responsibility, and the belief that discernment is a form of self-protection.

My creative work extends beyond books. I make art, compose music, publish essays and short-form writing, and build strange worlds where psychology, spirituality, folklore, and the unexplained can exist beside one another. Through Centarficus, I explore paranormal memoir and the questions that remain when conventional explanations fail. In Sevenlines, I write small stories in seven sentences. Women Who Stare at Walls is where I write about women, stillness, trauma, language, and the lives that continue breathing through the weight of feminine experiences. Paper Paint Blood brings my art onto the showcase walls.

I do not believe every wound needs to become a piece of content. I believe some experiences need privacy, others need language, and some need time to process before they can be understood. My writing is an attempt to remain honest without surrendering my entire interior life to an audience.

Everything I make begins with the same question:

What becomes possible when we stop abandoning ourselves in order to remain connected to what harmed us?

Thank you for being here. Read what speaks to you. Leave what does not. Take your time.