Conversation with Justine Camacho Tajonera

Justine Camacho-Tajonera is a Filipino author and poet who hails from Cebu City, Philippines. While she embarked on a corporate career in telecommunications, her passion for storytelling and literature remained her guiding force. She pursued a master's degree in Literary and Cultural Studies, a testament to her enduring love for writing and reading.

Her literary journey spans various genres and forms, showcasing her versatility as a writer. Justine has self-published seven diverse works, including poetry collections like Gift: Poems, contemporary romances such as Artemis Lets Go and Just for the Summer, a crime novelette (Bayawak's Trail), a fantasy novella (The Mermaid from Siquijor), and a children's book (Snuggle Wuggle Wee). Her foray into young adult fiction is marked by A Portrait of Jade.

Her romance novel, Steady Sarah, published by Penguin Random House SEA, further highlights her storytelling prowess. This inspiring tale of rediscovery and adventure follows Sarah Silvestre, a woman navigating unexpected upheavals in her life by embarking on a journey to explore seven waterfalls across the Philippines.

Justine’s works reflect her deep connection to her roots and her commitment to exploring diverse narratives, cementing her place in contemporary Filipino literature.

1. “Steady Sarah” touches on themes of self-discovery and resilience. What inspired you to write Sarah's story, and why did you choose the metaphor of chasing waterfalls for her journey?

> I first wrote Steady Sarah as a Chasing Waterfalls novella for a #RomanceClass challenge. This community, led by Mina V. Esguerra, is a hub for Filipino romance writers. The story began as a “what if”—what happens when an ambitious young woman, someone whose life is meticulously planned, faces an unexpected derailment? I’ve always been drawn to waterfalls; their cold, disorienting nature, and the adventure they embody perfectly mirrored Sarah’s plunge into uncertainty. To me, waterfalls symbolize embracing the unpredictable and finding beauty in the chaos.

2. Pete’s breakup and Sarah’s job loss are pivotal moments in the story. How did you approach portraying these life-altering events realistically?

> Breakups are familiar territory for me—haha! I’m the type to dwell, to overanalyze. Sarah’s realization that Pete no longer loves her came from my own experiences of harsh, unavoidable truths. As for Sarah’s retrenchment, I’ve been in corporate long enough to see how it impacts people, though I haven’t experienced it firsthand. I also leaned on my sister’s industry insights to add authenticity. The goal was to ground these moments in the raw, gut-punching reality of change and loss.

3. Benito plays an interesting role as Sarah’s companion on this journey. How did you develop his character, and what does he bring to Sarah’s growth?

> Benito is a classic “player”—charming, perpetually dating, but he’s also Sarah’s lifelong best friend. There’s a duality to him: the guy who seems unserious about love but is unshakably loyal to Sarah. For his character, I wanted to show the vulnerability beneath the surface. Through Benito, Sarah learns to trust and rely on someone fully, which is a big leap for her. He’s her safe harbor, but also her biggest risk.

4. The settings in “Steady Sarah”—from Tanay to Lake Sebu—are integral to the story. How did you choose these locations, and do they hold personal significance to you?

> I’m a Southern girl from Cebu, so water has always felt like home to me. Ironically, I’ve never been to Kawasan Falls, the Cebu waterfall in the book—I had to research it! But I’ve visited places like Batlag Falls in Tanay, Mag-Aso Falls in Bohol, and Cambugahay Falls in Siquijor. I wanted readers to experience a grand tour of Philippine waterfalls, particularly in the Visayas and Mindanao regions, because Manila isn’t the whole story. Hagimit Falls is a nod to my mother who grew up in Davao, and the Seven Falls is in South Cotaboto, close to Cagayan de Oro, where my father grew up. There’s so much beauty in our islands that deserves the spotlight.

5. Sarah’s family and friends often doubt her choices, reflecting societal expectations. What message did you aim to convey through their reactions and Sarah’s determination to defy them?

> Solo travel for women is still questioned, and Sarah’s loved ones reflect these traditional concerns. Even Benito hesitates to support her. I wanted to show the push-and-pull between societal expectations and personal growth. It’s important for women to pursue what makes them happy, even if it challenges cultural norms. Success isn’t about ticking boxes for others—it’s about living a life that feels true to you.

6. Your work spans multiple genres, from poetry to children’s books to fantasy novellas. How does your writing process differ when switching between these genres?

> I write in so many genres because I also read diversely. Before I was a writer, I was an avid reader, spending summers with my nose in a book (including the dictionary!). Some things don't really change as I write in different genres, such as being an outliner. I'm just not a “pantser” (writing by the seat of one's pants as Stephen King described it in his book, On Writing). I write with the end in mind no matter what the genre. This doesn't mean that spontaneity has no place in my writing. It's alive and well. Sometimes, my characters don't follow the outline and I go where they lead me. The only time I am a pantser is when I write poetry. And even when I write poetry, I usually write it when I have participated in a workshop (structure once again). I usually attend Beth Kempton's free Summer Writing Oasis and Winter Writing Sanctuary workshops (Beth Kempton is a Japanologist and bestselling author of Wabi Sabi and Kokoro among other non-fiction books). These workshops usually shake me up and force me to write in the moment.

7. You have a background in telecommunications and a master’s degree in Literary and Cultural Studies. How have these experiences influenced your approach to storytelling?

> My marketing background dovetails well with my storytelling mind. In fact, marketing doesn't work without storytelling. According to the American Marketing Association, Marketing is “the process of creating, communicating, delivering, and exchanging products or services to satisfy customer needs.” The communicating part is so much more effective as a story. I took up a master's degree in Literary and Cultural Studies instead of an MBA because I wanted to stay close to my love for reading and writing. It gave me an excuse to stay in the academe and dig up texts to see how they influence society and culture (I published my thesis years later, Encountering Balak: Re-Membering and Re-Shaping Cebuana Poetry Through the Politics of Translation, a proud achievement considering I was working full-time when I wrote it). I think my professional work has benefited from my bias for storytelling. On the other hand, my marketing jobs and my master's degree have given me the discipline to dig deep into any story and complete projects that I have set my mind on.

8. You’ve self-published seven books before “Steady Sarah” was published by Penguin Random House SEA. How has the transition from self-publishing to traditional publishing impacted your writing journey?

> I self-published for the joy of it. I have always loved writing and the only way I could share my work in the past was by self-publishing. “You're not a writer if only your mother reads your work,” I remember a professor saying (although Emily Dickinson would beg to disagree). When I found #RomanceClass through one of my jobs, I took the opportunity to learn not just the tropes of romance but also the process of self-publishing. Holding a book that I wrote in my hands gave me so much satisfaction. However, I never really got to concentrate on it because I was working full-time. After I attended a Writing Retreat, Write Away, I realized I wanted to try my hand at getting traditionally published. My dream of being traditionally published only came true six years after that retreat. I wrote about my experience here. Self-publishing gives the writer autonomy and control while traditional publishing takes the worry of marketing and distribution off a writer's hands. Both have their pros and cons. However, at this time of my life when I am still concentrating on my career, being traditionally published helps me reach readers more easily.

9. Your poetry often explores deeply personal themes. Do you find poetry influences the way you write prose, and if so, how?

> My poetry distills emotions and captures moments that prose cannot. In a way, it influences the emotional atmosphere of some of my scenes. With poetry, it is about cutting away to a core. With prose, it is about filling out spaces to take someone on a long journey. Imagery and atmosphere are two key elements of poetry that I try to integrate into my prose.

10. What advice would you give to aspiring writers who want to balance their professional careers with their passion for storytelling?

> Both a career and a passion for storytelling will give you joy if you allow them. You need not sacrifice one for the other. Finding the time is never about opportunity or inspiration, it's about commitment. Carve out time for yourself. Invest in yourself. Build a library around you and find the stillness from your busy life to put your thoughts into writing. I love how Elizabeth Gilbert puts it, “You are a vessel for genius.” You are not a genius. This takes away the pressure to “succeed” on the world's terms. You have caught a story in your mind and it is your sacred duty to share it. Don't think you need a masterpiece to begin writing. Just follow your curiosity, give it some structure, and then, share it. Beth Kempton has a beautiful line that all writers need to hear: “You are a writer and the world needs your medicine.” Go and write, my friend.